Stages and Playgoers: From Guild Plays to ShakespeareMcGill-Queen's Press - MQUP, 2002 - 241 The tradition of direct address has little to do with the frequently touted notion of the "fluidity of the Renaissance stage": the point is not that stage characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage. These exchanges appear frequently in late-medieval drama and continue to be crucial stage strategies for Shakespeare, in whose work they grow and change. By examining a native dramatic tradition not fully explored before, Hill proposes new ways to imagine historical and contemporary performances. Stages and Playgoers will be invaluable for students of cultural studies, medieval and Renaissance studies, theatre history, and stagecraft. |
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... stage " : the point is not that stage characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late ...
... stage " : the point is not that stage characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late ...
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... Stages and Playgoers demonstrates the long , vital tradition of dialogue between stage and audience from medieval , through Tudor , to Jacobean drama . Janet Hill offers new insights into techniques of addressing playgoers from the stage ...
... Stages and Playgoers demonstrates the long , vital tradition of dialogue between stage and audience from medieval , through Tudor , to Jacobean drama . Janet Hill offers new insights into techniques of addressing playgoers from the stage ...
Strona 5
... stage to audi- ence only ; I consider it vital that the audience return the stage's gaze , that they be partners in the address . Open address runs through all types of medieval plays : folk drama ; morality plays , both early exam ...
... stage to audi- ence only ; I consider it vital that the audience return the stage's gaze , that they be partners in the address . Open address runs through all types of medieval plays : folk drama ; morality plays , both early exam ...
Strona 6
... stage where no area is ever neutral , un - temporalized or un - spatialized . The texts of these plays and evidence regarding their production techniques make it clear that the primary stage was the specific ground on which the drama ...
... stage where no area is ever neutral , un - temporalized or un - spatialized . The texts of these plays and evidence regarding their production techniques make it clear that the primary stage was the specific ground on which the drama ...
Strona 7
... stage but also the playgoers , and that it does so in order to absorb the spectators and their world into the play . At these moments the stage is structured in such a way that while the playgoers gaze on it , the stage explicitly ...
... stage but also the playgoers , and that it does so in order to absorb the spectators and their world into the play . At these moments the stage is structured in such a way that while the playgoers gaze on it , the stage explicitly ...
Spis treści
Oure Play | 15 |
Nonce Plays | 76 |
I Know You All | 109 |
Open Address in the Romances | 161 |
Notes | 185 |
221 | |
235 | |
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