Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's TheatreCambridge University Press, 27. 7. 2000 - 298 strán (strany) Robert Weimann redefines the relationship between writing and performance, or "playing," in Shakespeare's theater. Through close reading and careful analysis Weimann offers a reconsideration and redefinition of Elizabethan performance and production practices. The study reviews the most recent methodologies of textual scholarship, the new history of the Elizabethan theater, performance theory, and film and video interpretation, and offers a new approach to understanding Shakespeare. Weimann examines a range of plays as well as other contemporary works. A major part of the study explores the duality between playing and writing. |
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Strana xi
... actor's voice " just as players ' voices and bodies , with all their contrariety , resonate in the writings of the pen . Hence , the result is no longer what , as in the case of the first volume , may be called a companion study but ...
... actor's voice " just as players ' voices and bodies , with all their contrariety , resonate in the writings of the pen . Hence , the result is no longer what , as in the case of the first volume , may be called a companion study but ...
Strana 1
... voices and movements to which it stood in a merely abstract relation . Another source , of a deeper kind , was a revaluation of action within the society . Certain ' representative ' modes of dramatic writing seem to have developed ...
... voices and movements to which it stood in a merely abstract relation . Another source , of a deeper kind , was a revaluation of action within the society . Certain ' representative ' modes of dramatic writing seem to have developed ...
Strana 3
... actor's performance " ( Boose and Burt , Shakespeare , the Movie 10 ) . This state of affairs once again enhances ... voices and movements . " But can the attachment of Shakespeare's work to the screen , whether video , TV , or cinema ...
... actor's performance " ( Boose and Burt , Shakespeare , the Movie 10 ) . This state of affairs once again enhances ... voices and movements . " But can the attachment of Shakespeare's work to the screen , whether video , TV , or cinema ...
Strana 4
... to name only these . But ' performance ' in Shakespeare criticism by and large is viewed either as performance of the plays or as performance inscribed in dramatic speech - never or rarely as a formative force , 4 Introduction.
... to name only these . But ' performance ' in Shakespeare criticism by and large is viewed either as performance of the plays or as performance inscribed in dramatic speech - never or rarely as a formative force , 4 Introduction.
Strana 5
Playing and Writing in Shakespeare's Theatre Robert Weimann Helen Higbee, William West. speech - never or rarely as a formative force , as an institutionalized power in itself , as a cultural practice in its own right . No doubt there is ...
Playing and Writing in Shakespeare's Theatre Robert Weimann Helen Higbee, William West. speech - never or rarely as a formative force , as an institutionalized power in itself , as a cultural practice in its own right . No doubt there is ...
Obsah
Performance and authority in Hamlet 1603 | 18 |
A new agenda for authority | 29 |
The low and ignorant crust of corruption | 31 |
Towards a circulation of authority in the theatre | 36 |
distraction in authority | 43 |
Pen and voice versions of doubleness | 54 |
Frivolous jestures vs matter of worthiness Tamburlaine | 56 |
Bifold authority in Troilus and Cressida | 62 |
Renaissance writing and common playing | 153 |
Unworthy antics in the glass of fashion | 161 |
When in one line two crafts directly meet | 169 |
Wordplay and the mirror of representation | 174 |
Space individable locus and platea revisited | 180 |
the locus | 182 |
provenance and function | 192 |
Locus and platea in Macbeth | 196 |
Unworthy scaffold for so great an object Henry V | 70 |
Playing with a difference | 79 |
To disfigure or to present A Midsummer Nights Dream | 80 |
To descant on difference and deformity Richard III | 88 |
The selfresembled show | 98 |
Presentation or the performant function | 102 |
Histories in Elizabethan performance | 109 |
Disparity in midElizabethan theatre history | 110 |
Reforming a whole theatre of others Hamlet | 121 |
From common player to excellent actor | 131 |
Differentiation exclusion withdrawal | 136 |
Hamlet and the purposes of playing | 151 |
Banqueting in Timon of Athens | 208 |
Shakespeares endings commodious thresholds | 216 |
Epilogues vs closure | 220 |
holiday into workaday | 226 |
Thresholds to memory and commodity | 234 |
cultural authority betwixtandbetween | 240 |
thresholds forever after | 246 |
Notes | 251 |
List of works cited | 269 |
289 | |
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acting action actor's voice actors Andrew Gurr antic Apemantus appears audience author's pen banquet bifold century character circulation of authority clown comedy common players context contrariety course criticism cultural authority deformity differentiation discourse disfigurement doubleness dramatic representation dramatic text dramaturgy element Elizabethan performance Elizabethan stage Elizabethan theatre epilogue function gesture Hamlet high Renaissance Histriomastix holy humanist imaginary implicated John Marston language least liminal literary locus and platea Macbeth marked matter medieval theatre memory Midsummer Night's Dream mimesis mirror mode notes oral performance practice phrase platea play's playhouse playtext poetics political present production Prologue purpose of playing Quarto question reading relations Renaissance represented rhetoric role scene semiotics sense serves Shakespeare's theatre signifying social spatial spectators speech Stephen Orgel suggest symbolic Tamburlaine textual theatrical space threshold tion traditional Troilus and Cressida unworthy scaffold verbal words writing and playing