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 50
... writes in 1559 that The English are universally partial to novelty , hostile to foreigners , and not very friendly amongst themselves : they attempt to do everything that comes into their heads , just as if all that imagination suggests ...
... writes in 1559 that The English are universally partial to novelty , hostile to foreigners , and not very friendly amongst themselves : they attempt to do everything that comes into their heads , just as if all that imagination suggests ...
Strana 106
... writes that " when Macbeth had murdered the king , the blood on his hands could not be washed off by any means , nor from his wife's hands , which handled the bloody daggers in hiding them , by which means they became both much amazed ...
... writes that " when Macbeth had murdered the king , the blood on his hands could not be washed off by any means , nor from his wife's hands , which handled the bloody daggers in hiding them , by which means they became both much amazed ...
Strana 118
... writes ) " theatres it all down , " measures mainly in performative terms anything a playwright may present that lacks sufficient performance appeal . Shakespeare's failure to neutralize completely the provocative impact of the shared ...
... writes ) " theatres it all down , " measures mainly in performative terms anything a playwright may present that lacks sufficient performance appeal . Shakespeare's failure to neutralize completely the provocative impact of the shared ...
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