Shakespeare's Dramatic Transactions
Duke University Press, 1990 - 226 pàgines
Shakespeare’s Dramatic Transactions uses conventions of performance criticism—staging and theatrical presentation—to analyze seven major Shakespearean tragedies: Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Richard II, and Richard III. As scholars and readers increasingly question the theoretical models used to describe the concepts of “mimesis” and “representation,” this book describes how the actor’s stage presentation affects the actor’s representational role and the ways in which viewers experience Shakespearean tragedy.
Michael Mooney draws on the work of East German critic Robert Weimann and his concept of figurenposition—the correlation between an actor’s stage location and the speech, action, and stylization associated with that position—to understand the actor/stage location relationship in Shakespeare’s plays. In his examination of the original staging of Shakespeare’s tragedies, Mooney looks at the traditional interplay between a downstage “place” and upstage “location” to describe the difference between non-illusionistic action (often staged near the audience) and the illusionistic, localized action that characterizes mimetic art.
The innovative and insightful approach of Shakespeare’s Dramatic Transactions brings together the techniques of performance criticism and the traditional literary study of Shakespearean tragedy. In showing how the distinctions of stage location illuminate the interaction among language, representation, Mooney’s compelling argument enhances our understanding of Shakespeare and the theater.
Què en diuen els usuaris - Escriviu una ressenya
No hem trobat cap ressenya als llocs habituals.
Integrating Actor and Audience
Language Staging and Affect Figurenposition in Richard III
Engagement and Detachment in Richard II
Representation and Privileged Knowledge in Hamlet
Location and Idiom in Othello
Multiconsciousness in King Lear
Voice and Multiple Awareness in Macbeth
Directing Sympathy in Antony and Cleopatra
Altres edicions - Mostra-ho tot
action actor antic Antony appears asks audience awareness becomes begins believe Bolingbroke Caesar Cassio character Claudius Cleopatra comes conventions course created criticism death Desdemona direct drama draws Edgar effect Elizabethan Enobarbus enters experience eyes fact fall fear feel figure Figurenposition final follow gives Gloucester Hamlet hand hear heart Iago illusion illusionistic images important interpretations keeping King Lear knowledge lago language lines locus London lord Macbeth meaning mind moral move murder nature once opening Othello performance persona perspective play play's position present privileged provides psychological Queen question readers reasons relation relationship Renaissance representational response reveals rhetorical Richard Richard III role says scene seems seen sense Shakespeare shifts soliloquy speaks spectators speech stage stands suggests symbolic tells theater theatrical thoughts tion tragedy true turns understand voice York
Marlowe and the Popular Tradition: Innovation in the English Drama Before 1595
Previsualització limitada - 2002
Tots els resultats de Google Llibres »
Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies ...
John C. Meagher
Previsualització limitada - 2003