Shakespeare's Dramatic TransactionsDuke University Press, 31. 7. 1991 - Počet stran: 244 Shakespeare’s Dramatic Transactions uses conventions of performance criticism—staging and theatrical presentation—to analyze seven major Shakespearean tragedies: Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Richard II, and Richard III. As scholars and readers increasingly question the theoretical models used to describe the concepts of “mimesis” and “representation,” this book describes how the actor’s stage presentation affects the actor’s representational role and the ways in which viewers experience Shakespearean tragedy. Michael Mooney draws on the work of East German critic Robert Weimann and his concept of figurenposition—the correlation between an actor’s stage location and the speech, action, and stylization associated with that position—to understand the actor/stage location relationship in Shakespeare’s plays. In his examination of the original staging of Shakespeare’s tragedies, Mooney looks at the traditional interplay between a downstage “place” and upstage “location” to describe the difference between non-illusionistic action (often staged near the audience) and the illusionistic, localized action that characterizes mimetic art. The innovative and insightful approach of Shakespeare’s Dramatic Transactions brings together the techniques of performance criticism and the traditional literary study of Shakespearean tragedy. In showing how the distinctions of stage location illuminate the interaction among language, representation, Mooney’s compelling argument enhances our understanding of Shakespeare and the theater. |
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Strana xi
... dramaturgy . It differs from other stage - centered criticism by proposing the staging Shakespeare envisaged for seven of his tragedies in their original production and by describing the meaningful " affects " these plays produced in ...
... dramaturgy . It differs from other stage - centered criticism by proposing the staging Shakespeare envisaged for seven of his tragedies in their original production and by describing the meaningful " affects " these plays produced in ...
Strana xii
... dramaturgy , but of dramatic meaning as well . " These are the words of Robert Weimann , whose work I have drawn upon for my methodological approach . When his Shakespeare und die Tradition des Volkstheaters first appeared in 1967 , it ...
... dramaturgy , but of dramatic meaning as well . " These are the words of Robert Weimann , whose work I have drawn upon for my methodological approach . When his Shakespeare und die Tradition des Volkstheaters first appeared in 1967 , it ...
Strana xiii
Michael Mooney. peare's dramaturgy and examine the ways in which he characters . presents his major These chapters consider the verbal structures and theatrical functions implied by as well as interpretatively present in the texts . They ...
Michael Mooney. peare's dramaturgy and examine the ways in which he characters . presents his major These chapters consider the verbal structures and theatrical functions implied by as well as interpretatively present in the texts . They ...
Strana 9
Omlouváme se, ale obsah této stránky je nepřístupný..
Omlouváme se, ale obsah této stránky je nepřístupný..
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Omlouváme se, ale obsah této stránky je nepřístupný..
Obsah
I Integrating Actor and Audience | 1 |
Figurenposition in Richard III | 23 |
III Engagement and Detachment in Richard II | 51 |
IV Representation and Privileged Knowledge in Hamlet | 77 |
V Location and Idiom in Othello | 104 |
VI Multiconsciousness in King Lear | 129 |
VII Voice and Multiple Awareness in Macbeth | 150 |
VIII Directing Sympathy in Antony and Cleopatra | 170 |
Notes | 193 |
217 | |
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