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"Shakespeare, William, 1564-1616 Knowledge Performing arts."
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Shakespeare and the making of theatre
A highly engaging text that approaches Shakespeare as a maker of theatre, as well as a writer of literature. Leading performance critics dismantle Shakespeare's texts, identifying theatrical cues in ways which develop understanding of the underlying theatricality of Shakespeare's plays and stimulate further performances.
Book
Author's Pen and Actor's Voice
In this seminal work, Robert Weimann redefines the relationship between writing and performance, or 'playing', in Shakespeare's theatre. 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 theatre, performance theory, and film and video interpretation, and offers a new approach to understanding Shakespeare. Weimann examines a range of plays including Hamlet, Troilus and Cressida, Henry V, A Midsummer Night's Dream and Macbeth, among others, as well as other contemporary works. A major part of the study explores the duality between playing and writing: the imaginary world-in-the-play and the visible, audible playing-in-the-world of the playhouse, and Weimann focuses especially on the gap between these two, between the so-called 'pen' and 'voice'.
eBook
The figure of the crowd in early modern London : the city and its double
The Figure of the Crowd in Early Modern London examines the cultural phenomenon of the urban crowd in the context of early modern London's population crisis. The book explores the crowd's double function as a symbol of the city's growth and as the necessary context for the public performance of urban culture. Its central argument is that the figure of the crowd acts as a supplement to the symbolic space of the city, at once providing a tangible referent for urban meaning and threatening the legibility of that meaning through its motive force and uncontrollable energy.
eBook
The Edinburgh Companion to Shakespeare and the Arts
This authoritative and innovative volume explores the place of Shakespeare in relation to a wide range of artistic practices and activities, past and present.
eBook
The third citizen : Shakespeare's theater and the early modern House of Commons
The new practices and theories of parliamentary representation that emerged during Elizabeth's and James' reigns shattered the unity of human agency, redefined the nature of power, transformed the image of the body politic, and unsettled constructs and concepts as fundamental as the relation between presence and absence.
In The Third Citizen, Oliver Arnold argues that recovering the formation of political representation as an effective ideology should radically change our understanding of early modern political culture, Shakespeare's political art, and the way Anglo-American critics, for whom representative democracy is second nature, construe both. In magisterial readings of Titus Andronicus, Julius Caesar, Coriolanus, and the First Tetralogy, Arnold discovers a new Shakespeare who was neither a conservative apologist for monarchy nor a prescient, liberal champion of the House of Commons but instead a radical thinker and artist who demystified the ideology of political representation in the moment of its first flowering. Shakespeare believed that political representation produced (and required for its reproduction) a new kind of subject and a new kind of subjectivity, and he fashioned a new kind of tragedy to represent the loss of power, the fall from dignity, the false consciousness, and the grief peculiar to the experiences of representing and of being represented. Representationalism and its subject mark the beginning of political modernity; Shakespeare's tragedies greet political representationalism with skepticism, bleakness, and despair.
eBook
Renaissance psychologies
A thorough and scholarly study of Spenser and Shakespeare and their
contrary artistry, covering themes of theology, psychology, the
depictions of passion and intellect, moral counsel, family
hierarchy, self-love, temptation, folly, allegory, female heroism,
the supernatural and much more. Renaissance psychologies
examines the distinct and polarised emphasis of these two towering
intellects and writers of the early modern period. It demonstrates
how pervasive was the influence of Spenser on Shakespeare, as in
the \"playful metamorphosis of Gloriana into Titania\" in A
Midsummer Night's Dream and its return from Spenser's
moralizing allegory to the Ovidian spirit of Shakespeare's comedy.
It will appeal to students and lecturers in Spenser studies,
Renaissance poetry and the wider fields of British literature,
social and cultural history, ethics and theology.
eBook
The Dances of Shakespeare
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Jim Hoskins is Professor of Theater at the Florida State University Asolo Conservatory and staff choreographer for the Asolo Theater. He has taught period movement and dance for the past 28 years in workshops around the country as well as at Penn State University and FSU. He previously was a performing actor and dancer.
eBook
Humoring the body
Though modern readers no longer believe in the four humors of Galenic naturalism—blood, choler, melancholy, and phlegm—early modern thought found in these bodily fluids key to explaining human emotions and behavior. In Humoring the Body, Gail Kern Paster proposes a new way to read the emotions of the early modern stage so that contemporary readers may recover some of the historical particularity in early modern expressions of emotional self-experience. Using notions drawn from humoral medical theory to untangle passages from important moral treatises, medical texts, natural histories, and major plays of Shakespeare and his contemporaries, Paster identifies a historical phenomenology in the language of affect by reconciling the significance of the four humors as the language of embodied emotion. She urges modern readers to resist the influence of post-Cartesian abstraction and the disembodiment of human psychology lest they miss the body-mind connection that still existed for Shakespeare and his contemporaries and constrained them to think differently about how their emotions were embodied in a premodern world.
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