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
Results 1-5 of 86
Page 2
... dramatic text and performance " ( 1094 ) . To a good many readers , the current upheaval in the relationship of dramatic text and performance may perhaps appear to be quite remote from any of the major issues in today's Shakespeare ...
... dramatic text and performance " ( 1094 ) . To a good many readers , the current upheaval in the relationship of dramatic text and performance may perhaps appear to be quite remote from any of the major issues in today's Shakespeare ...
Page 4
... Styan , 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.
... Styan , 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.
Page 6
... dramatic , auditory , and visual elements so important in personal interaction " ( " Literacy as Mythical Charter " 39-40 ) . But while such pre- occupation with written language may provide what is in some respects " a surprisingly ...
... dramatic , auditory , and visual elements so important in personal interaction " ( " Literacy as Mythical Charter " 39-40 ) . But while such pre- occupation with written language may provide what is in some respects " a surprisingly ...
Page 8
... dramatic text can we realistically hope to keep it viable . It is upon premises such as these that I propose to study both writing and playing in the Elizabethan theatre as different modes of cultural produc- tion marked by intense ...
... dramatic text can we realistically hope to keep it viable . It is upon premises such as these that I propose to study both writing and playing in the Elizabethan theatre as different modes of cultural produc- tion marked by intense ...
Page 14
... dramatic fables that the theatre disseminated . " Along these lines , the attendance of women and their representation on - stage revealed " differences within the sense - making ma- chinery of culture " ( Howard , The Stage 7 ) . At ...
... dramatic fables that the theatre disseminated . " Along these lines , the attendance of women and their representation on - stage revealed " differences within the sense - making ma- chinery of culture " ( Howard , The Stage 7 ) . At ...
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 |