Shakespeare's Dramatic TransactionsDuke University Press, 31.07.1991 - 244 Seiten 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. |
Im Buch
Ergebnisse 1-5 von 57
Seite xi
... sense of performing or conducting a business venture , such as were the dealings of Shakespeare and his company with the public from roughly 1590 to 1613 , and in the literal sense of a " bridging across " or commu- nicative carrying ...
... sense of performing or conducting a business venture , such as were the dealings of Shakespeare and his company with the public from roughly 1590 to 1613 , and in the literal sense of a " bridging across " or commu- nicative carrying ...
Seite 3
... sense of the way language and staging complement each other . And for many modern critics the " fourth wall " dividing actor from audience was more than just a useful term ; it symbolized the division between the study of language and ...
... sense of the way language and staging complement each other . And for many modern critics the " fourth wall " dividing actor from audience was more than just a useful term ; it symbolized the division between the study of language and ...
Seite 4
... sense that the theater's other hemisphere is so crucial . In this second of the theater's enclosed spaces , spectators draw a perspective on the action . Because we trust so much in Shakespeare's language , we should also trust in the ...
... sense that the theater's other hemisphere is so crucial . In this second of the theater's enclosed spaces , spectators draw a perspective on the action . Because we trust so much in Shakespeare's language , we should also trust in the ...
Seite 10
... sense of self and identity . In this view Renaissance drama held up the mirror to nature in delineating the difficulties of establishing , maintaining , and upholding a role.1 In certain circumstances , moreover , indirect audience ...
... sense of self and identity . In this view Renaissance drama held up the mirror to nature in delineating the difficulties of establishing , maintaining , and upholding a role.1 In certain circumstances , moreover , indirect audience ...
Seite 13
Du hast die Anzeigebeschränkung für dieses Buch erreicht.
Du hast die Anzeigebeschränkung für dieses Buch erreicht.
Inhalt
1 | |
Figurenposition in Richard III | 23 |
III Engagement and Detachment in Richard II | 51 |
IV Representation and Privileged Knowledge in Hamlet | 77 |
V Location and Idiom in Othello | 104 |
VI Multiconsciousness in King Lear | 129 |
VII Voice and Multiple Awareness in Macbeth | 150 |
VIII Directing Sympathy in Antony and Cleopatra | 170 |
Notes | 193 |
Index | 217 |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
action actor antic Antony and Cleopatra Antony's audience audience's awareness Banquo Bolingbroke Caesar Cambridge Cassio character choric Claudius Claudius's Clown critical death Desdemona dialogue downstage dramaturgy Edgar effect Elizabethan Enobarbus Enobarbus's eyes feel figure Figurenposition Figurenpositionen final Fulgens and Lucrece Gloucester Gloucester's Gorboduc grief Hamlet hand hath heart Iago Iago's idiom illusion illusionistic images King Lear lago language Lear's locus London lord lovers Macbeth Macduff Mack meaning ment mind mock moral murder nonillusionistic Ophelia Othello performance persona perspective platea play play's Polonius present privileged knowledge psychological Queen readers realistic Renaissance Renaissance drama representational response reveals rhetorical Richard Richard III role Romeo and Juliet Rossiter says scene sense Shake Shakespeare Shakespeare Survey Shakespearean Tragedy shifts soliloquy speaks speare's spectators speech stage suggests symbolic tators tells thanes theater theatrical thou thoughts throne Tillyard tion Tragedy Vice villain voice Weimann wordplay words York