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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Both in his soliloquy and in his role in the hanging scene that follows , the boy
finds himself acting a part because of his unavoidable complicity in Lorenzo's
villainy . His complicity has the effect of vitalizing the hanging scene ; his secret ...
ceremony of surrender nevertheless produces an uncanny inward meaning in
the scene — the difference that does not make any difference , since Orlando and
Rosalind would probably have married anyway even if Rosalind had revealed ...
I shall never teach this boy without a screw ; his knees must be opened with a
vice , or there's no good to be done upon him ” ( 198–204 ) . Near the end of the
scene , she collapses on the stage and cries out for a midwife . The dancing class
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