The Staging of Romance in Late Shakespeare: Text and Theatrical TechniqueUniversity of Delaware Press, 2007 - 304 strán (strany) Few plays have both attracted and resisted genre study as strongly as Shakespeare's late plays. The Staging of Romance in Late Shakespeare: Text and Theatrical Technique takes a fresh approach to the role of genre in these plays by placing them in relation to the tradition of staged romance in the early modern English theater. The book argues that Shakespeare's late plays can best be understood as theatrical experiments that extend and reform this tradition, which developed around a group of theatrical techniques that sought to realize the effects of narrative romance in the theatrical medium. Their central effect was the creation of admiration in the spectators for heroic action; the value of the plays within the culture derived from this experience. |
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Výsledky 1 - 5 z 48.
Strana 20
... modal conflict in the late plays takes place between romance and tragedy , as one might guess from the role of mimesis in Frye's dis- tinction between the modal features of these genres . The high mi- metic mode of tragedy depicts ...
... modal conflict in the late plays takes place between romance and tragedy , as one might guess from the role of mimesis in Frye's dis- tinction between the modal features of these genres . The high mi- metic mode of tragedy depicts ...
Strana 21
... modal conflict , as in those tests , the boundary between human and supernatural action is sometimes touched , but more often the conflict turns on the pos- sibility of virtuous action . A good example of this modal conflict between ...
... modal conflict , as in those tests , the boundary between human and supernatural action is sometimes touched , but more often the conflict turns on the pos- sibility of virtuous action . A good example of this modal conflict between ...
Strana 22
... modal conflict it sets up , that dramatic outcome is provisional only : the conflict will be resolved at the more significant level of social practice in the response of the performers 22 THE STAGING OF ROMANCE IN LATE SHAKESPEARE.
... modal conflict it sets up , that dramatic outcome is provisional only : the conflict will be resolved at the more significant level of social practice in the response of the performers 22 THE STAGING OF ROMANCE IN LATE SHAKESPEARE.
Strana 23
... modal con- flict in a scene from Pericles is not Marina's persuasion of Boult , nor how a given production stages this moment of persuasion ( although both of these matters will influence the outcome ) , but each specta- tor's ...
... modal con- flict in a scene from Pericles is not Marina's persuasion of Boult , nor how a given production stages this moment of persuasion ( although both of these matters will influence the outcome ) , but each specta- tor's ...
Strana 25
... modal conflicts in theatrical challenges whose outcome can only be decided in the spectators ' judgment . In a sense , this design gives the spectators responsibility for the ending of the play , making their continuation of the story ...
... modal conflicts in theatrical challenges whose outcome can only be decided in the spectators ' judgment . In a sense , this design gives the spectators responsibility for the ending of the play , making their continuation of the story ...
Obsah
11 | |
30 | |
The Development of Dramatic Romance 15701610 | 60 |
Hermione Paulina and Their Audiences The Role of Mimetic Involvements in Transformation | 117 |
Achieved Miracle Completion in Dramatic Romance | 156 |
Unceasing Transformation Further Tests of Romance in The Tempest Henry VIII and The Two Noble Kinsmen | 202 |
Notes | 239 |
Bibliography | 270 |
Index | 287 |
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Časté výrazy a frázy
accept achieve action actor appears audience becomes begins body bring Camillo challenge chapter characters claims condition continues court create critics desire dramatic romance early effects efforts emotional enactment English experience feelings final Florizel follow genre give harmony heart Henry Hermione Hermione's heroic heroic action honor human important involvement jealousy kind King language late plays lead Leontes limits lords means mimetic modal mode move nature Noble observation offers opening passion pastoral Paulina Perdita performance Philaster play play's plot political Polixenes possible presents production Prospero question representation represented response reveal rhetoric role scene seems sense Shakespeare shows social sort speaks spectacle spectators speech staging story struggle style suffering suggests Tale techniques Tempest theater theatrical tion tradition tragedy tragic transformation truth turn uncertainty University Press values virtue Winter's Winter's Tale witness
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Strana 95 - By heaven, methinks it were an easy leap, To pluck bright honour from the pale-fac'd moon ; Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowne'd honour by the locks...
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