Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's TheatreCambridge University Press, 2000 M07 27 - 298 pages 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. |
From inside the book
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Page iv
... Context 38. Ann Jones and Peter Stallybrass , Renaissance Clothing and the Materials of Memory 39. Robert Weimann , Author's Pen and Actor's Voice : Playing and Writing in Shakespeare's Theatre A complete list of books in the series is ...
... Context 38. Ann Jones and Peter Stallybrass , Renaissance Clothing and the Materials of Memory 39. Robert Weimann , Author's Pen and Actor's Voice : Playing and Writing in Shakespeare's Theatre A complete list of books in the series is ...
Page 4
... context , which is the Elizabethan theatre . If , as I shall suggest , these relations participate in the circulation of unfixed , largely untried and unsettled sources of appeal , the use and impact of a largely underestimated " scaeni ...
... context , which is the Elizabethan theatre . If , as I shall suggest , these relations participate in the circulation of unfixed , largely untried and unsettled sources of appeal , the use and impact of a largely underestimated " scaeni ...
Page 5
... context and to attempt to answer the question of how and to what extent performance in Shakespeare's theatre actually was a formative element , a constituent force , and together with , or even without , the text a source of material ...
... context and to attempt to answer the question of how and to what extent performance in Shakespeare's theatre actually was a formative element , a constituent force , and together with , or even without , the text a source of material ...
Page 6
... context needs to be formulated more cautiously . In regard to Renaissance theatrical transactions , the question is to what extent and to what purpose will " the once taken - for- granted model of the predominance of the ' text " " ( 40 ) ...
... context needs to be formulated more cautiously . In regard to Renaissance theatrical transactions , the question is to what extent and to what purpose will " the once taken - for- granted model of the predominance of the ' text " " ( 40 ) ...
Page 12
... context and which arises at different times " ( Production of Space 22 ) . Still , the distinction between these two types of theatrical space remains important on the levels of both the dramaturgy and the epistemology of performance ...
... context and which arises at different times " ( Production of Space 22 ) . Still , the distinction between these two types of theatrical space remains important on the levels of both the dramaturgy and the epistemology of performance ...
Contents
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 |
Other editions - View all
Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre Robert Weimann No preview available - 2000 |
Common terms and phrases
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
References to this book
Maps and Memory in Early Modern England: A Sense of Place Rhonda Lemke Sanford No preview available - 2002 |