Theatre of the Book, 1480-1880: Print, Text, and Performance in EuropeOxford University Press, 09/11/2000 - 494 من الصفحات Theatre of the Book is an account of the entangled histories of print and the theatre in Europe between the Renaissance and the late nineteenth century: a history of European dramatic publication (providing comparative and historical perspective to the growing field of textual studies); an examination of the creation of the modern notion of text and performance; and a comparative genealogy of ideas about theatrical and textual reception. It shows that, far from being marginal to Renaissance dramatists, the printing press had an essential role to play in the birth of the modern theatre, crucially shaping the normative conception of 'theatre' as a distinct aesthetic medium and of drama as a distinct narrative form, helping to forge a theatricalist aesthetics in opposition to 'the book'. Treating playtexts, engravings, actor portraits, notation systems, and theatrical ephemera at once as material objects and expressions of complex cultural formations, Theatre of the Book examines the European theatre's continual refashioning of itself in the world of print. |
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الصفحة 6
... French illustrator Jacques Callot came to Florence for the Medici festivals and the Alsatian engraver Matthias Greuter worked in Rome, it was equally important that their etchings of the festivals were sold throughout Europe. If it was ...
... French illustrator Jacques Callot came to Florence for the Medici festivals and the Alsatian engraver Matthias Greuter worked in Rome, it was equally important that their etchings of the festivals were sold throughout Europe. If it was ...
الصفحة 23
... French adopt the Italian style, and the English and Spanish only sporadically followed suit.24 But it is certainly the case that typography helped to spread and conventionalize particular ways of representing drama on the page ...
... French adopt the Italian style, and the English and Spanish only sporadically followed suit.24 But it is certainly the case that typography helped to spread and conventionalize particular ways of representing drama on the page ...
الصفحة 41
... French and English capitals, the development of a centralized theatrical life and strong dramatic traditions (despite the closure of the theatres in England for eighteen years); in Counter-Reformation Spain, the increase in Church ...
... French and English capitals, the development of a centralized theatrical life and strong dramatic traditions (despite the closure of the theatres in England for eighteen years); in Counter-Reformation Spain, the increase in Church ...
الصفحة 44
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الصفحة 47
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المحتوى
1 | |
11 | |
13 | |
THEATRE IMPRIMATUR | 91 |
THE SENSES OF MEDIA | 145 |
THE COMMERCE OF LETTERS | 201 |
THEATRICAL IMPRESSIONS | 255 |
Epilogue | 308 |
Notes | 313 |
Works Cited | 444 |
Index | 487 |
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عبارات ومصطلحات مألوفة
acting action actors aesthetic attempt Beaumont and Fletcher become beginning body century Chapter characters claims classical collection Comedies Complete continued contract copies Corneille corrected create critics culture dedication describes directions discussion distinction drama dramatic dramatists early edition eighteenth English explains expression fact figures French gesture give hand identified illustrations imagination imitation important instance Italy John Jonson kind language late later learned letters Library literary living managers manuscript means narrative nature notes offer once original performance period Plautus plays playwrights poem poet poetic poetry preface printed printers production published readers reading reflected Renaissance represented scene scenic seemed seen senses seventeenth Shakespeare similarly space spectators speech stage theatre theatrical things Thomas tion tragedy trans translation various voice writes written