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. |
Vyhledávání v knize
Výsledky 1-5 z 51
Strana xii
... role ( s ) and to the correlation between a play's language and stag- ing . In the analyses of Richard III , Richard II , Hamlet , Othello , King Lear , Macbeth , and Antony and Cleopatra that follow , I apply these ideas in an attempt ...
... role ( s ) and to the correlation between a play's language and stag- ing . In the analyses of Richard III , Richard II , Hamlet , Othello , King Lear , Macbeth , and Antony and Cleopatra that follow , I apply these ideas in an attempt ...
Strana 1
... roles they assume on the stage . During a performance the actors assume fictional roles , and the spectators , aware that individuals like themselves have become the- atrical personae , luxuriate in the illusion which makes this ...
... roles they assume on the stage . During a performance the actors assume fictional roles , and the spectators , aware that individuals like themselves have become the- atrical personae , luxuriate in the illusion which makes this ...
Strana 2
... role ; every character was seen in dual perspective , as involved in an illu- sory world and as merely a player in this world . One can almost always see the actor behind the role , but the frequency with which actors in Renaissance ...
... role ; every character was seen in dual perspective , as involved in an illu- sory world and as merely a player in this world . One can almost always see the actor behind the role , but the frequency with which actors in Renaissance ...
Strana 4
... role spectators played in the creation of dramatic meaning . His espousal of " perspectivism , " an acknowledgment that meaning can only be validated by the confluence of individual view- points , helped reassert the existence of ...
... role spectators played in the creation of dramatic meaning . His espousal of " perspectivism , " an acknowledgment that meaning can only be validated by the confluence of individual view- points , helped reassert the existence of ...
Strana 9
... roles , consider the possibilities of staging , and perform the tragedy of Pyramus and Thisby . When the rustics meet ... role , life and art . The rustics insist upon realistic and mimetic repre- sentation , but their deliberations more ...
... roles , consider the possibilities of staging , and perform the tragedy of Pyramus and Thisby . When the rustics meet ... role , life and art . The rustics insist upon realistic and mimetic repre- sentation , but their deliberations more ...
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