Dramatis Personae: The Rise of Medieval and Renaissance TheatrePeter Owen, 2006 - 931 Seiten Touching on "Passion Plays" and "Mysteries and Moralities," this exploration also examines the folk farces that flourished during the Middle Ages. Discussing developments during the Renaissance in Italy such as the commedia dell'arte as well as exalted musical innovations culminating in operas and ballets, the book also discusses the drama of Europe--including Spain, France, Germany, Holland, and Great Britain--where theater reached an extraordinary climax in the Elizabethan and Jacobean periods in the work of Shakespeare and others. Providing a summary of Shakespeare's plays and how they have been interpreted through the centuries, this account also examines in detail his contemporaries--Marlowe, Kyd, Ford, Beaumont, Fletcher, and others-- before considering the work of Jonson and Webster, two great dramatists who outlived the Bard. |
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Seite 30
... audiences . Look at the specific rubrics in the Daniel manuscript ; where Darius comes to see Daniel in the lions ' den , for example , it says he is ' in tears . ' This is theatre ; we must move our audience . " Ms von Ramm had already ...
... audiences . Look at the specific rubrics in the Daniel manuscript ; where Darius comes to see Daniel in the lions ' den , for example , it says he is ' in tears . ' This is theatre ; we must move our audience . " Ms von Ramm had already ...
Seite 85
... audience , whose size is limited to 100 by Equity show - case regulations , sits near most of the action . Seating is on either side of the main playing area , near the end of the Cathedral that is opposite the altar . The altar is thus ...
... audience , whose size is limited to 100 by Equity show - case regulations , sits near most of the action . Seating is on either side of the main playing area , near the end of the Cathedral that is opposite the altar . The altar is thus ...
Seite 228
... audience , to have the spectators feel themselves participants in the story , sharing the same emotions . In one notable instance , to instil fear in the gasping onlookers he flooded the stage and had the turbulent waters roll towards ...
... audience , to have the spectators feel themselves participants in the story , sharing the same emotions . In one notable instance , to instil fear in the gasping onlookers he flooded the stage and had the turbulent waters roll towards ...
Inhalt
Preface | 17 |
Medieval Farces | 87 |
The Feast of Asses and the Feast of Fools | 97 |
Urheberrecht | |
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acting action actors Aretino Arlecchino artistic audience ballet Ben Jonson century characters Church classical comedy comic commedia dell'arte composed costumes court critics Cymbeline dance daughter death decades dialogue drama dramatist Duke earlier Elizabethan English farce father Faustus Festival figure Florence French genre Giovanni Hamlet Henry honour Hôtel de Bourgogne humour husband Italian Italy John Jonson King lady later Latin Lear libretto London Lope Lope de Vega lovers Macbeth Mantua Marlowe Marlowe's marriage married medieval moral offering opera opera seria Othello passion performance perhaps person Plautus play players playwright plot poet poetry popular portrayed Prince production Queen Renaissance Richard Richard II role Roman Rome royal scene scholars score script seeks servant Shakespeare Spanish spectators stage story T.S. Eliot Tamburlaine theatre theatrical tragedy tragicomedy troupe turn Venice verse Volpone wedding wife writing wrote young