Women on Stage in Stuart DramaCambridge University Press, 2005 - 294 من الصفحات 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. |
من داخل الكتاب
النتائج 1-5 من 45
الصفحة 1
... show that the advent of women on the professional stage in 1660 was the outcome of a vigorous debate conducted in the drama and theatrical entertainments of the early Stuart period . The advent and public acceptance of actresses in the ...
... show that the advent of women on the professional stage in 1660 was the outcome of a vigorous debate conducted in the drama and theatrical entertainments of the early Stuart period . The advent and public acceptance of actresses in the ...
الصفحة 2
... shows that the actress's arrival is part of a much broader shift in the ways women are represented , and are beginning to represent themselves , in the course of the seventeenth century . If we take a long view of the sixty - year ...
... shows that the actress's arrival is part of a much broader shift in the ways women are represented , and are beginning to represent themselves , in the course of the seventeenth century . If we take a long view of the sixty - year ...
الصفحة 3
... shows the pliability of patriarchal ideology when faced with what Jonson names in Blackness as ' her majesty's will'.10 A royal marriage meant a doubling of the royal prerogative , which in turn opened up possibilities both for marital ...
... shows the pliability of patriarchal ideology when faced with what Jonson names in Blackness as ' her majesty's will'.10 A royal marriage meant a doubling of the royal prerogative , which in turn opened up possibilities both for marital ...
الصفحة 13
... shows , Shirley was aware of the shock of the new , and its pulling power . His comedy The Ball ( 1632 ) questions but ultimately vindicates the genteel fashion of social dancing associated with the Queen ; the play features a French ...
... shows , Shirley was aware of the shock of the new , and its pulling power . His comedy The Ball ( 1632 ) questions but ultimately vindicates the genteel fashion of social dancing associated with the Queen ; the play features a French ...
الصفحة 14
... show how the latter masque revises and complicates a Neopla- tonic construction of female virtue . The works by Townshend and Montagu inaugurate a sexual rhetoric attached to the woman's body on stage , which has been analysed in depth ...
... show how the latter masque revises and complicates a Neopla- tonic construction of female virtue . The works by Townshend and Montagu inaugurate a sexual rhetoric attached to the woman's body on stage , which has been analysed in depth ...
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
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
مقاطع مشهورة
الصفحة 3 - I have heard of your paintings too, well enough ; God hath given you one face, and you make yourselves another...
الصفحة 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.
الصفحة 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.
مراجع لهذا الكتاب
Drama at the Courts of Queen Henrietta Maria <span dir=ltr>Karen Britland</span> معاينة محدودة - 2006 |