Shakespeare the Actor and the Purposes of PlayingUniversity of Chicago Press, 1993 - 325 strán (strany) For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in Shakespeare's England and shows why a knowledge of actual theatrical practices is essential for understanding both Shakespeare's plays and the theatricality of everyday life in early modern England. Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance. |
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Strana viii
... Host 195 Eight " Every Man Must Play a Part , and Mine a Sad One " : The Player's Passion Afterword Circles and Centers Notes Index 203 225 235 315 Preface and Acknowledgments T his book attempts to reconstruct something viii Contents.
... Host 195 Eight " Every Man Must Play a Part , and Mine a Sad One " : The Player's Passion Afterword Circles and Centers Notes Index 203 225 235 315 Preface and Acknowledgments T his book attempts to reconstruct something viii Contents.
Strana x
... note three sorts of inquiry that have been particularly important to my thinking though neither in practice nor in theory is it possible to separate them cleanly . The first is concerned with the metaphysical or ontological impli ...
... note three sorts of inquiry that have been particularly important to my thinking though neither in practice nor in theory is it possible to separate them cleanly . The first is concerned with the metaphysical or ontological impli ...
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Obsah
IV | 9 |
V | 29 |
VI | 30 |
VII | 46 |
VIII | 57 |
IX | 64 |
X | 73 |
XI | 85 |
XIX | 144 |
XX | 149 |
XXI | 158 |
XXII | 166 |
XXIII | 169 |
XXIV | 179 |
XXV | 183 |
XXVI | 191 |
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Actaeon acting Anne Antony Arden Armado attack audience audience's baiting Barber and Wheeler bearbaiting beggar Bottom Brutus Caesar called Callow chapter character child cited in Chambers clown Comedy Coriolanus crowd crown death deer describes Drama dream Elizabethan Stage English Epilogue Fairy Falstaff fantasies father fawning fear flattering fool Hal's Hamlet Henriad Henry Henry IV Henry VI Histriomastix histrionic hunt identified inner plays italics added John John Marston Jonson King King Lear kneel Launce Lear literally London Lord Love's Labour's Lost male Midsummer Night's Dream mirror mother murder narcissistic offstage onstage performance play's players poet Queen Renaissance Richard Richard III role says scene Shake Shakespeare shame Shrew Sly's social sonnet speare's stage fright story suggests Tarlton tells theater theatrical thee Thomas thou Timon Timon of Athens Titus Titus Andronicus University Press Wives wounds York