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 3
... eighteenth-century actress-autobiographerpuppeteer-sausage-seller Charlotte Charke, treating them as equal (if sometimes deviant) witnesses to their cultures' concerns. I have mixed “high” with “low” where they intersect in the cultural ...
... eighteenth-century actress-autobiographerpuppeteer-sausage-seller Charlotte Charke, treating them as equal (if sometimes deviant) witnesses to their cultures' concerns. I have mixed “high” with “low” where they intersect in the cultural ...
الصفحة 9
... eighteenth-century dramatist as commercial producer, and at the political and legal culture simultaneously produced by and producing the market-place of print. Chapter 10, “Dramatists, Poets, and Other Scribblers,” discusses the claims ...
... eighteenth-century dramatist as commercial producer, and at the political and legal culture simultaneously produced by and producing the market-place of print. Chapter 10, “Dramatists, Poets, and Other Scribblers,” discusses the claims ...
الصفحة 10
... eighteenth- and nineteenth-century text. Chapter , “Actor/Author,” describes the role of print in the creation of the actor as author of the scene—paradigm of social role-playing, prototype for the changeling self as subject ...
... eighteenth- and nineteenth-century text. Chapter , “Actor/Author,” describes the role of print in the creation of the actor as author of the scene—paradigm of social role-playing, prototype for the changeling self as subject ...
الصفحة 41
... eighteenth centuries, given important regional and national differences: in the French and English capitals, the development of a centralized theatrical life and strong dramatic traditions (despite the closure of the theatres in England ...
... eighteenth centuries, given important regional and national differences: in the French and English capitals, the development of a centralized theatrical life and strong dramatic traditions (despite the closure of the theatres in England ...
الصفحة 42
... eighteenth.4 Just as Lord Lisle went directly to Jonson to ask for a copy of a masque in 1608, play afficionados still made a practice, in the later seventeenth and eighteenth centuries, of asking their dramatist and actor friends for ...
... eighteenth.4 Just as Lord Lisle went directly to Jonson to ask for a copy of a masque in 1608, play afficionados still made a practice, in the later seventeenth and eighteenth centuries, of asking their dramatist and actor friends for ...
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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