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 xi
... result is no longer what , as in the case of the first volume , may be called a companion study but rather a self - contained sequel that hence- forth will dictate some of the terms of the third and final volume in the project at large ...
... result is no longer what , as in the case of the first volume , may be called a companion study but rather a self - contained sequel that hence- forth will dictate some of the terms of the third and final volume in the project at large ...
Page 7
... in a democratic sense of the word , purely beneficial results of this process . At any rate , I believe it is rash for those of us who continue to stand for , simply by practicing , writing and reading to subscribe to Introduction 7.
... in a democratic sense of the word , purely beneficial results of this process . At any rate , I believe it is rash for those of us who continue to stand for , simply by practicing , writing and reading to subscribe to Introduction 7.
Page 8
... results , this relationship drew upon an alliance that harbored an unsuspected degree of vulnerability and unexplored areas of friction . To say that the engagement was between a culture of orality and a culture of literacy is , as Leah ...
... results , this relationship drew upon an alliance that harbored an unsuspected degree of vulnerability and unexplored areas of friction . To say that the engagement was between a culture of orality and a culture of literacy is , as Leah ...
Page 14
... result of this implication " clogs the smooth machinery of reproductive representation , " precisely because performance " approaches the Real through resisting the metaphorical reduction of the two into one " ( Phelan , Unmarked 146 ) ...
... result of this implication " clogs the smooth machinery of reproductive representation , " precisely because performance " approaches the Real through resisting the metaphorical reduction of the two into one " ( Phelan , Unmarked 146 ) ...
Page 15
... result of such performance practice was " impossibly double , " it helped bring forth - together with , rather than against , the Renaissance text several versions of doubleness . Sixteenth - century writing itself was , as we have ...
... result of such performance practice was " impossibly double , " it helped bring forth - together with , rather than against , the Renaissance text several versions of doubleness . Sixteenth - century writing itself was , as we have ...
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 |