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 29
Strana 3
... 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 be postulated as a convention and what is not . " 4 ...
... 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 be postulated as a convention and what is not . " 4 ...
Strana 4
... representational theater of the Renaissance will be fully apprehended . Not all twentieth - century thinking has been limited in the way that Eliot and Archer proposed . Two continental artists and theorists devel- oped a different ...
... representational theater of the Renaissance will be fully apprehended . Not all twentieth - century thinking has been limited in the way that Eliot and Archer proposed . Two continental artists and theorists devel- oped a different ...
Strana 5
... representational modes of popular and courtly or hall drama . Shakespeare , Kyd , and Marlowe ar- rived at just that moment when the old traditions of the popular theater were not yet moribund and the new conventions of the continental ...
... representational modes of popular and courtly or hall drama . Shakespeare , Kyd , and Marlowe ar- rived at just that moment when the old traditions of the popular theater were not yet moribund and the new conventions of the continental ...
Strana 6
... representational modes . 8 But if our understanding of Shakespeare's theater has grown , critical response continues to lag behind . Because readers still prefer to discuss Renaissance drama as an illusionistic and literary construct ...
... representational modes . 8 But if our understanding of Shakespeare's theater has grown , critical response continues to lag behind . Because readers still prefer to discuss Renaissance drama as an illusionistic and literary construct ...
Strana 9
... representational one . Shakespeare knew that overwrought presentation could preclude valid representation . He also knew , by mocking the strictures 9 Integrating Actor and Audience.
... representational one . Shakespeare knew that overwrought presentation could preclude valid representation . He also knew , by mocking the strictures 9 Integrating Actor and Audience.
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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