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 2
... speech and writing;5 and the history of the relationship between technologies of communication and culture6 (explored in studies of the “impact” of writing and print, of “literate culture” and “print culture,” of the relationships among ...
... speech and writing;5 and the history of the relationship between technologies of communication and culture6 (explored in studies of the “impact” of writing and print, of “literate culture” and “print culture,” of the relationships among ...
الصفحة 7
... speeches: Ulpian Fulwell's Like Will to Like( ), which boasts that “five may easely play this Enterlude,” or Nathaniel Woodes's Conflict of Conscience ( ), whose title page offers “the Actors names” as “most convenient ...
... speeches: Ulpian Fulwell's Like Will to Like( ), which boasts that “five may easely play this Enterlude,” or Nathaniel Woodes's Conflict of Conscience ( ), whose title page offers “the Actors names” as “most convenient ...
الصفحة 15
... speeches and songs.3 As theatrical activity increased along with leisure-time reading, as both printers and scriptoria began to produce dramatic texts, more people started describing and documenting theatrical events. Performance ...
... speeches and songs.3 As theatrical activity increased along with leisure-time reading, as both printers and scriptoria began to produce dramatic texts, more people started describing and documenting theatrical events. Performance ...
الصفحة 16
... Speeches.”8 We have already seen the use of printed texts by sixteenth-century actors of various sorts. The many texts that offered explanations of how they were to be played were clearly intended for performers, whether travelling ...
... Speeches.”8 We have already seen the use of printed texts by sixteenth-century actors of various sorts. The many texts that offered explanations of how they were to be played were clearly intended for performers, whether travelling ...
الصفحة 22
... speech-prefixes and vivid illustrations (Fig. ), to recognize that writers and printers had such conventions available to them. It would also be misleading to suggest that a single convention came to dominate throughout Europe. The ...
... speech-prefixes and vivid illustrations (Fig. ), to recognize that writers and printers had such conventions available to them. It would also be misleading to suggest that a single convention came to dominate throughout Europe. The ...
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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