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 9
... believe that playgoers understand all the figurative acrobatics executed by Shake- speare's language as it flies by , ... it is equally hard to believe that Eliza- bethan spectators ... were not in the same plight " ( 52 ) . I quote ...
... believe that playgoers understand all the figurative acrobatics executed by Shake- speare's language as it flies by , ... it is equally hard to believe that Eliza- bethan spectators ... were not in the same plight " ( 52 ) . I quote ...
Strana 136
... believe that there is anything fortuitous about his more incisive dramatic interventions . In a comparatist turn of his own , John D. Cox has recently contended that " Marlowe demystifies the power he craves but cannot obtain ...
... believe that there is anything fortuitous about his more incisive dramatic interventions . In a comparatist turn of his own , John D. Cox has recently contended that " Marlowe demystifies the power he craves but cannot obtain ...
Strana 206
... believe that [ The School of Abuse ] was written at the request of an agent of the City authorities , and that the ... believe what Gosson says about audience behavior , we must believe it not because Gosson was an Elizabethan who ...
... believe that [ The School of Abuse ] was written at the request of an agent of the City authorities , and that the ... believe what Gosson says about audience behavior , we must believe it not because Gosson was an Elizabethan who ...
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