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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Strona vii
... masque 2 ' Naked hearts ' : feminizing the Stuart pastoral stage 3 ' Significant liberty ' : the actress in Caroline comedy 4 Sirens of doom and defiance in Caroline tragedy Interchapter : ' Enter lanthe veiled ' page viii X xii xiii 18 ...
... masque 2 ' Naked hearts ' : feminizing the Stuart pastoral stage 3 ' Significant liberty ' : the actress in Caroline comedy 4 Sirens of doom and defiance in Caroline tragedy Interchapter : ' Enter lanthe veiled ' page viii X xii xiii 18 ...
Strona 2
... masque , alleging ' it were the ready way to change the mirth of Christmas , to offer any conditions where her Majesty's person is an actor ' . ? Under- pinning this objection to the Queen's masquing is a patriarchal notion of the royal ...
... masque , alleging ' it were the ready way to change the mirth of Christmas , to offer any conditions where her Majesty's person is an actor ' . ? Under- pinning this objection to the Queen's masquing is a patriarchal notion of the royal ...
Strona 3
... masque performances . For the purposes of this book , the importance of the Stuart masque lies in the newly significant and signifying role accorded to female theatrical performance . Hence the first two chapters trace the development ...
... masque performances . For the purposes of this book , the importance of the Stuart masque lies in the newly significant and signifying role accorded to female theatrical performance . Hence the first two chapters trace the development ...
Strona 11
... Masque of Queens ( 1609 ) . Such continu- ities should not blind us to the differences in style of the queens consort and in the conduct of relationships between women and men at the two courts . Henrietta Maria's youth ( she was not ...
... Masque of Queens ( 1609 ) . Such continu- ities should not blind us to the differences in style of the queens consort and in the conduct of relationships between women and men at the two courts . Henrietta Maria's youth ( she was not ...
Strona 14
... masque Tempe Restored and Montagu's The Shepherds ' Paradise . By juxtaposing these works ' representation of theatrical femi- ninity with the role of the Lady in Milton's Masque performed at Ludlow Castle , I show how the latter masque ...
... masque Tempe Restored and Montagu's The Shepherds ' Paradise . By juxtaposing these works ' representation of theatrical femi- ninity with the role of the Lady in Milton's Masque performed at Ludlow Castle , I show how the latter masque ...
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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
Popularne fragmenty
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.
Strona 13 - Cage, a comedy, which wanteth, I must confess, much of that ornament, which the stage and action lent it, for it comprehending also another play or interlude, personated by ladies, * I must refer to your imagination, the music, the songs, the dancing, and other varieties, which I know would have pleas'd you infinitely in the presentment.