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Author's pen and actor's voice : playing and writing in Shakespeare's theatre / Robert Weimann ; edited by Helen Higbee and William West.
Kislak Center for Special Collections - Furness Shakespeare Library (Van Pelt 628) PR3034 .W45 2000
Available
- Format:
- Book
- Author/Creator:
- Weimann, Robert.
- Series:
- Cambridge studies in Renaissance literature and culture ; 39.
- Cambridge studies in Renaissance literature and culture ; 39
- Language:
- English
- Subjects (All):
- Shakespeare, William, 1564-1616--Knowledge and learning--Performing arts.
- Shakespeare, William.
- Shakespeare, William, 1564-1616.
- Performing arts.
- Shakespeare, William, 1564-1616--Criticism and interpretation.
- Criticism and interpretation.
- Shakespeare, William, 1564-1616--Dramatic production.
- Theater in literature.
- Acting in literature.
- Drama--Technique.
- Drama.
- Physical Description:
- xiii, 298 pages ; 24 cm.
- Place of Publication:
- Cambridge, U.K. ; New York : Cambridge University Press, 2000.
- Summary:
- This study redefines relations between writing and playing in Shakespeare's theatre as marked by difference as well as integration in both the provenance and the production process of early modern stages. In his close readings in Richard III, Midsummer Night's Dream, Hamlet, Troilus and Cressida. Macbeth, Timon of Athens and other plays, the author traces contrariety but also liminality between the imaginary world-in-the-play and the visible, audible playing-in-the-world of the playhouse. Engaging both worlds, Shakespeare's stage projects verbal and performance practices each to 'double business bound'; together they inform his theatre's most potent impulse then and, the author suggests, now, in our own theatre.
- Contents:
- Introduction: conjunctures and concepts 1
- 1 Performance and authority in Hamlet (1603) 18
- 2 A new agenda for authority 29
- The "low and ignorant" crust of corruption 31
- Towards a circulation of authority in the theatre 36
- Players, printers, preachers: distraction in authority 43
- 3 Pen and voice: versions of doubleness 54
- "Frivolous jestures" vs. matter of "worthiness" (Tamburlaine) 56
- Bifold authority in Troilus and Cressida 62
- "Unworthy scaffold" for "so great an object" (Henry V) 70
- 4 Playing with a difference 79
- To "disfigure, or to present" (A Midsummer Night's Dream) 80
- To "descant" on difference and deformity (Richard III) 88
- The "self-resembled show" 98
- Presentation, or the performant function 102
- 5 Histories in Elizabethan performance 109
- Disparity in mid-Elizabethan theatre history 110
- Reforming "a whole theatre of others" (Hamlet) 121
- From common player to excellent actor 131
- Differentiation, exclusion, withdrawal 136
- 6 Hamlet and the purposes of playing 151
- Renaissance writing and common playing 153
- Unworthy antics in the glass of fashion 161
- "When in one line two crafts directly meet" 169
- (Word)play and the mirror of representation 174
- 7 Space (in)dividable: locus and platea revisited 180
- Space as symbolic form: the locus 182
- The open space: provenance and function 192
- Locus and platea in Macbeth 196
- Banqueting in Timon of Athens 208
- 8 Shakespeare's endings: commodious thresholds 216
- Epilogues vs. closure 220
- Ends of postponement: holiday into workaday 226
- Thresholds to memory and commodity 234
- Liminality: cultural authority 'betwixt-and-between' 240
- Afterword: thresholds forever after 246.
- Notes:
- Includes bibliographical references (pages 269-288) and index.
- ISBN:
- 0521781302
- 0521787351
- OCLC:
- 43109884
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