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 71
... capacity to fanta- size such challenges would be enabled by a restlessness with the status quo that the Tamburlaine plays repeatedly enforce . To the masterless men at the disordered margins of Elizabethan society and " the master ...
... capacity to fanta- size such challenges would be enabled by a restlessness with the status quo that the Tamburlaine plays repeatedly enforce . To the masterless men at the disordered margins of Elizabethan society and " the master ...
Strana 90
... capacity for engagement . Of all the instances of violence and violation in the two parts of Tam- burlaine , the scene that begins with the “ Governor of Babylon ... hanging in chains on the walls " ( stage - direction ) and ends with ...
... capacity for engagement . Of all the instances of violence and violation in the two parts of Tam- burlaine , the scene that begins with the “ Governor of Babylon ... hanging in chains on the walls " ( stage - direction ) and ends with ...
Strana 197
... capacity for engagement chooses to re- press , once and for all , his capacity for self - expression : “ Lips , let sour words go by and language end " ( V.i.219 ) . Since Timon's renunciation of language occurs only after he has ...
... capacity for engagement chooses to re- press , once and for all , his capacity for self - expression : “ Lips , let sour words go by and language end " ( V.i.219 ) . Since Timon's renunciation of language occurs only after he has ...
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