Marlowe, Shakespeare, and the Economy of Theatrical ExperienceUniversity of Pennsylvania Press, Incorporated, 29. 11. 1991 - Počet stran: 264 This study explores the structure of psychological, social and political exchanges that were negotiated between audiences and plays in Elizabethan public theatres in a period ostensibly dominated by Shakespeare, but strongly rooted in Marlowe. |
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Strana 96
... Macbeth what it condemns him for . While ambition may be said to become Macbeth's disease , Macbeth's advancement is ac- tually bred out of a " disjoint " frame of civil dissension within which inten- tion and effect are as doubtful to ...
... Macbeth what it condemns him for . While ambition may be said to become Macbeth's disease , Macbeth's advancement is ac- tually bred out of a " disjoint " frame of civil dissension within which inten- tion and effect are as doubtful to ...
Strana 108
... Macbeth , becomes increas- ingly obvious when this text is performatively realized in a manner that encourages its audience to experience a sense of imaginative " affiliation ” with Macbeth . If , or when , this occurs , the audience ...
... Macbeth , becomes increas- ingly obvious when this text is performatively realized in a manner that encourages its audience to experience a sense of imaginative " affiliation ” with Macbeth . If , or when , this occurs , the audience ...
Strana 109
... Macbeth himself has unleashed , and to reinterpret the ghost as a deliberate " plant , " placed in Macbeth's chair by the witches to taunt and terrorize him . Indeed , a close retrospective look at the timing of the ghost's two ...
... Macbeth himself has unleashed , and to reinterpret the ghost as a deliberate " plant , " placed in Macbeth's chair by the witches to taunt and terrorize him . Indeed , a close retrospective look at the timing of the ghost's two ...
Obsah
Part One The Economy of Theatrical Experience | 9 |
The Audience in Theory and Practice | 38 |
Part Two The Webs of Plays | 67 |
Autorská práva | |
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action actually advance appeal approach aspiring attempt audience audience's authority Barabas becomes believe calls capacity chapter character claim closing common consequently considered constitutes construction contemporary context course critical cultural defenses demonstrate designed desire dramatic Edward effects Elizabethan engagement established example expression fact fantasy feel Gaveston ghost give ground hand Henry identify ideology imaginative intentions interests interpretive Jack Straw kind king largely least less Lord Macbeth manner Marlowe Marlowe's material means mind moral nature normative notes observes offer operates opposed performance play play's playgoers pleasure political position possibility present privileged provides psychic psychological question range reading regarding represented resistance respect response Richard role scene seems sense serve Shakespeare shared social speak specific speech stage status structure suggests Tamburlaine theater theatrical experience Timon tion writes