Stage-Wrights: Shakespeare, Jonson, Middleton, and the Making of Theatrical Value
University of Pennsylvania Press, Incorporated, 29. 5. 1997 - Počet stran: 232
To many of their contemporaries, William Shakespeare, Ben Jonson, and Thomas Middleton were little more than artisanal craftsmen, "stage-wrights" who wrote plays for money, to be performed in common playhouses and in a manner often antithetical to what Jonson himself viewed as the higher calling of poetry. In response to the conflicting pressures of censorship and commercialism, Paul Yachnin contends, players and dramatists alike had promulgated the idea of drama's irrelevance, creating a recreational theater that failed to influence its audience in any purposeful way.
In Stage-Wrights Yachnin shows how Shakespeare, Jonson, and Middleton struggled to reclaim not only the importance of their art, but their own social legitimacy as well as through the reshaping of the commercial theater. His bold readings of their works unveil the strategies by which they sought power from their privileged but powerless position on the margins. Adopting a hermeneutical approach, he explores a wide range of historical evidence to describe how English Renaissance drama depicted the world in ways refracted by the interests of the playing companies; throughout, he challenges recent historicist models that have overrated the importance of dramatic productions to society and its institutions of authority.
Paul Yachnin offers a new way of understanding dramatic texts in relation to their social history. In showing how the efforts of three playwrights helped shape the area of discourse we now call "the literary," Stage-Wrights represents both a major rereading of the place of theater in Shakespeare's London and an important clarification of the social context of contemporary criticism.
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And that might connect with what Desdemona says when Othello leaves her
alone on stage — her only lines spoken in soliloquy : “ Tis meet I should be us'd
so , very meet . / How have I been behav'd , that he should stick / The small'st
Jonson might want to dissociate The Alchemist from the commercial theater and
enforce its connections with what Barish calls “ the domain of literature , ” but both
spheres were in fact highly commercialized . Indeed , the Blackfriars playhouse ...
His boyhood connections with the Aldermen of London influenced his later "
return ” to the city and the emerging values of the city , a return evident in the
large number of civic pageants he produced for the city fathers , and epitomized
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