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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Výsledky 1-5 z 16
Strana xi
... nonillusionistic moments , the dra- matic effects and " affects , " acting values and demands , characterization , and staging - falls within the range of this inquiry . But the intent of the transaction remains my primary focus . I use ...
... nonillusionistic moments , the dra- matic effects and " affects , " acting values and demands , characterization , and staging - falls within the range of this inquiry . But the intent of the transaction remains my primary focus . I use ...
Strana 2
... nonillusionistic , representa- tional and presentational . They have so experimented , I believe , because drama is finally a transaction between the spectators and the play . We may have lost the ability to understand the nature of ...
... nonillusionistic , representa- tional and presentational . They have so experimented , I believe , because drama is finally a transaction between the spectators and the play . We may have lost the ability to understand the nature of ...
Strana 3
... nonillusionistic , and " conven- tional " as well as representational , illusionistic , and " realistic , " called it an " impure art . " For Eliot , Renaissance drama was an art in which " there has been no firm principle of what is to ...
... nonillusionistic , and " conven- tional " as well as representational , illusionistic , and " realistic , " called it an " impure art . " For Eliot , Renaissance drama was an art in which " there has been no firm principle of what is to ...
Strana 5
... ( nonillusionistic and popular ) or " naturalistic " ( illusionistic , realistic , and literary ) . It is a drama that holds engagement with and detachment from the audience in equipoise ; it is a theater of nonillusionistic as well as ...
... ( nonillusionistic and popular ) or " naturalistic " ( illusionistic , realistic , and literary ) . It is a drama that holds engagement with and detachment from the audience in equipoise ; it is a theater of nonillusionistic as well as ...
Strana 9
... nonillusionistic , presentational dramaturgy and an illusionistic , representational one . Shakespeare knew that overwrought presentation could preclude valid representation . He also knew , by mocking the strictures 9 Integrating Actor ...
... nonillusionistic , presentational dramaturgy and an illusionistic , representational one . Shakespeare knew that overwrought presentation could preclude valid representation . He also knew , by mocking the strictures 9 Integrating Actor ...
Obsah
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 |
Index | 217 |
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action actor antic Antony and Cleopatra Antony's audience audience's awareness Banquo Bolingbroke Caesar Cambridge Cassio character choric Claudius Claudius's Clown critical death Desdemona dialogue downstage dramaturgy Edgar effect Elizabethan Enobarbus Enobarbus's eyes feel figure Figurenposition Figurenpositionen final Fulgens and Lucrece Gloucester Gloucester's Gorboduc grief Hamlet hand hath heart Iago Iago's idiom illusion illusionistic images King Lear lago language Lear's locus London lord lovers Macbeth Macduff Mack meaning ment mind mock moral murder nonillusionistic Ophelia Othello performance persona perspective platea play play's Polonius present privileged knowledge psychological Queen readers realistic Renaissance Renaissance drama representational response reveals rhetorical Richard Richard III role Romeo and Juliet Rossiter says scene sense Shake Shakespeare Shakespeare Survey Shakespearean Tragedy shifts soliloquy speaks speare's spectators speech stage suggests symbolic tators tells thanes theater theatrical thou thoughts throne Tillyard tion Tragedy Vice villain voice Weimann wordplay words York