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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The difference , a familiar one in the history of the reception of the two writers , is
between Shakespearean vitality and Jonsonian artifice.2 Jonsonian tragedy is
deficient in characterization . Shakespeare gives us knowable , threedimensional
In this view , tragedy is a contemplative rather than an active form . In tragedy ,
pure skeptical knowledge , as opposed to the operations of power , emerges as
truly powerful . Nietzsche explains Hamlet's sublimity as an effect of the hero's ...
From Marlowe's " high astounding terms ” to Shakespeare's “ that within ” to
Jonson's “ tax[ ing ] of the present state ” to Middleton's complex revisionism , the
theater made its greatest ideological investment in the value of tragedy .
Co říkají ostatní - Napsat recenzi
Historical Interpretation and the
The Knowledge Marketplace
Instituting Mirth in Renaissance Comedy
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The English Renaissance Stage:Geometry, Poetics, and the Practical Spatial ...
Henry S. Turner
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