Women on Stage in Stuart DramaCambridge University Press, 2005 - 294 Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood. |
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... Restoration theatre . Sophie Tomlinson uncovers and analyses a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort , Anna of Denmark and the French Henrietta Maria . Their appearances ...
... Restoration theatre . Sophie Tomlinson uncovers and analyses a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort , Anna of Denmark and the French Henrietta Maria . Their appearances ...
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... Restoration theatre . Sophie Tomlinson uncovers and analyses a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort , Anna of Denmark and the French Henrietta Maria . Their appearances ...
... Restoration theatre . Sophie Tomlinson uncovers and analyses a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort , Anna of Denmark and the French Henrietta Maria . Their appearances ...
Strona 1
... Restoration drama discover that in 1660 women began representing themselves on the public stage . How did this cultural trans- formation come about ? And what was the impact on the audience , and on English drama , when ' the woman's ...
... Restoration drama discover that in 1660 women began representing themselves on the public stage . How did this cultural trans- formation come about ? And what was the impact on the audience , and on English drama , when ' the woman's ...
Strona 2
... Restoration playhouses : ' It was within the select atmosphere of a particular social group that the first English actresses were introduced and flourished . " In an earlier , influential essay , Katharine Maus offered a conceptual ex ...
... Restoration playhouses : ' It was within the select atmosphere of a particular social group that the first English actresses were introduced and flourished . " In an earlier , influential essay , Katharine Maus offered a conceptual ex ...
Strona 5
... Restoration . While Elizabeth was extolled as a phoenix , authoritative female self - fashioners of the Stuart generation are more numerous : Queens Anna and Henrietta Maria , Margaret Cavendish , Duchess of Newcastle , and Katherine ...
... Restoration . While Elizabeth was extolled as a phoenix , authoritative female self - fashioners of the Stuart generation are more numerous : Queens Anna and Henrietta Maria , Margaret Cavendish , Duchess of Newcastle , and Katherine ...
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Kluczowe wyrazy i wyrażenia
action actors actress Anna of Denmark audience beauty Bellessa Ben Jonson Bianca Bonavent Broken Heart Calantha Cambridge University Press Carol Cartwright chastity Circe Circe's Cleopatra Coleorton comedy Comus court masque culture Cupid Cupid's Banishment CWKP dance Daniel's death discourse dramatists Duchess Duchess of Malfi Echo Elizabeth English Eumela Fairfield female performance feminine Ford's Gender Henrietta Maria heroic husband Hyde Park Inigo Jones Ithocles Jacobean James Shirley John Ford Jonson Katherine Philips Lady Frances Lady-Errant Lady's line in parentheses literary London Love's Sacrifice madness male Margaret Cavendish marriage masculine masquers McManus Messallina Milton Mistress Montagu's Moramante Newcastle nymphs Orgel Orgilus Oxford Paradise pastoral Penthea's Philips's play play's Poems political Pompey Queen Renaissance Renaissance Drama representation represented Revels role Rosaura's royal scene sexual Shakespeare's Shepherds shift Shirley Shirley's song speech stage Stephen Orgel Stuart Tempe Restored theatre theatrical Tragedy tragicomedy virtue William woman women writing
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Strona 3 - I have heard of your paintings too, well enough ; God hath given you one face, and you make yourselves another...
Strona 6 - See here the reason of that which I touched before, — that women have no voice in Parliament. They make no laws, they consent to none, they abrogate none. All of them are understood either married or to be married, and their desires are to their husbands. I know no remedy, that some women can shift it well enough.
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