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 138
... expression Brecht classifies as " plain speech , " to address an issue that has both specific relevance to the play in question and clear extradramatic implications for the audience - at- large ( Willett 1964 , 44–45 ) . Such moments ...
... expression Brecht classifies as " plain speech , " to address an issue that has both specific relevance to the play in question and clear extradramatic implications for the audience - at- large ( Willett 1964 , 44–45 ) . Such moments ...
Strana 195
... expression could be more “ radical , " unless it be the closely allied motive of sheer lamentation , undirected wailing . . . . Obviously , the Shakespearean theater lends itself perfectly to the effects of invective . Coriolanus is an ...
... expression could be more “ radical , " unless it be the closely allied motive of sheer lamentation , undirected wailing . . . . Obviously , the Shakespearean theater lends itself perfectly to the effects of invective . Coriolanus is an ...
Strana 196
... expression of the something that is “ hurt ” in Timon strike a responsive chord in the something that is hurt , angry , or simply disappointed in all of us , and by making that chord resonate with the play's concomitant attack on the ...
... expression of the something that is “ hurt ” in Timon strike a responsive chord in the something that is hurt , angry , or simply disappointed in all of us , and by making that chord resonate with the play's concomitant attack on the ...
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