Stages and Playgoers: From Guild Plays to ShakespeareMcGill-Queen's Press - MQUP, 2002 - 241 strán (strany) The tradition of direct address has little to do with the frequently touted notion of the "fluidity of the Renaissance stage": the point is not that stage characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage. These exchanges appear frequently in late-medieval drama and continue to be crucial stage strategies for Shakespeare, in whose work they grow and change. By examining a native dramatic tradition not fully explored before, Hill proposes new ways to imagine historical and contemporary performances. Stages and Playgoers will be invaluable for students of cultural studies, medieval and Renaissance studies, theatre history, and stagecraft. |
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... audience but that they actu- ally do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late medieval drama and continue to be crucial stage strategies for ...
... audience but that they actu- ally do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late medieval drama and continue to be crucial stage strategies for ...
Strana 4
... audience . He demands that they bury him in their local quarry . We cannot be sure how , year after year , different audiences respond- ed to Cain's insults and demands . They may have yelled back abuse for abuse ; they may have shifted ...
... audience . He demands that they bury him in their local quarry . We cannot be sure how , year after year , different audiences respond- ed to Cain's insults and demands . They may have yelled back abuse for abuse ; they may have shifted ...
Strana 5
... audience by the stage in the drama of this period is widely recognized . Susan Bennett sums up the general view when she writes that " medieval and sixteenth - century audiences ... func- tioned in an active role . There was a ...
... audience by the stage in the drama of this period is widely recognized . Susan Bennett sums up the general view when she writes that " medieval and sixteenth - century audiences ... func- tioned in an active role . There was a ...
Strana 6
... audience intimacy in the plays is linked to the medieval " movement of pop- ular piety that sought to bring the individual into a personal rela- tionship with Christ " ( " Theatricality , " 55 ) . While this is certainly true , talking ...
... audience intimacy in the plays is linked to the medieval " movement of pop- ular piety that sought to bring the individual into a personal rela- tionship with Christ " ( " Theatricality , " 55 ) . While this is certainly true , talking ...
Strana 8
... audience . In chapter 2 , I argue that open address in these Tudor plays creates a more distant audience ; the dominant staging conditions make it crucial to separate stage time and space from audience time and space . In the Tudor ...
... audience . In chapter 2 , I argue that open address in these Tudor plays creates a more distant audience ; the dominant staging conditions make it crucial to separate stage time and space from audience time and space . In the Tudor ...
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Abraham action actors audi audience audience's Bevington biblical Blackfriars Cain Cambridge University Press characters Chester Christ close comic companies contemporary Corpus Christi costumes court Coventry crowds Cymbeline David Bevington devil early Elizabethan ence England English Drama episode Falstaff figure fool Fulgens and Lucrece galleries goers Gower guild drama guild plays Gurr Hamlet Hattaway heaven Hell Henry Herod Imogen impresario Interludes Jachimo James Burbage John kill king King Lear Lear listeners lives loca London look Lord medieval drama Medieval Theatre modern morality plays N-Town never no-one Noah nonce plays open address openly Pandarus performance platea play's players playgoers Playgoing playing space playworld playwrights Posthumus present Prologue Prospero public playhouses Renaissance Drama Richard romance scaffold servant Shakespeare shepherds soliloquies speaks spectators speech story strategies talk tapster tell theatre theatrical thou tion Towneley Towneley's towns tradition Tudor Twycross Tydeman watching Weimann words York York's þat