Theatre of the Book, 1480-1880: Print, Text, and Performance in EuropeOxford University Press, 2000 - 494 pages 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 resistance to and continual refashioning of itself in the world of print."--Jacket. |
From inside the book
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Page 23
... descriptions of the action ( often printed separately for use as programmes ) . If , from the early sixteenth century , Ital- ian dramatic editions modelled themselves on the mise en page of the Latin drama , only in the 1630s did the ...
... descriptions of the action ( often printed separately for use as programmes ) . If , from the early sixteenth century , Ital- ian dramatic editions modelled themselves on the mise en page of the Latin drama , only in the 1630s did the ...
Page 24
... descriptions of spectacle continued to create an interchange between text proper and its necessary context ; plays continued to be encircled by commentary , writers continued to move freely between narrative description and dramatic ...
... descriptions of spectacle continued to create an interchange between text proper and its necessary context ; plays continued to be encircled by commentary , writers continued to move freely between narrative description and dramatic ...
Page 62
... ( descriptions of events now past ) to the eternal present tense ( descriptions of events happening in the now , on the page and in the reader's imagination ) . This does not mean that playwrights crafted stage directions with the same ...
... ( descriptions of events now past ) to the eternal present tense ( descriptions of events happening in the now , on the page and in the reader's imagination ) . This does not mean that playwrights crafted stage directions with the same ...
Contents
List of Illustrations | 11 |
Huntington Library for figs 8 22 45 47 60 the Harvard Theatre Collection | 11 |
Note on Editions Spellings Translations and Citations | 11 |
Copyright | |
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Other editions - View all
Theatre of the Book, 1480-1880: Print, Text, and Performance in Europe Julie Stone Peters Limited preview - 2003 |
Theatre of the Book, 1480-1880: Print, Text, and Performance in Europe Julie Stone Peters Limited preview - 2000 |
Common terms and phrases
17th century acting actors aesthetic Alexandre Hardy ancient Aristotle audience Beaumont and Fletcher Ben Jonson booksellers Castelvetro characters Charlotte Charke Cibber classical collection Comédie-Française Comedies commedia dell'arte complètes copies Corneille culture dedication dialogue discussion dramatic texts dramatists early editions eighteenth century English explains farces folio French frontispiece genres gesture Heywood Houghton Library identify illustrations imagination imitation instance Italian John Jonson kind language letters literary livres London Lope Lope de Vega Lord Chamberlain manuscript medieval modern Molière narrative Œuvres offer Paris patrons performance playbooks playhouse playtexts playwrights poem poet poetic poetry preface printed plays printers production prologue published qu'il quarto readers reading Renaissance representation scene scenic scripts senses seventeenth century Shakespeare similarly sixteenth century spectacle spectators speech speech-prefixes stage directions Teatro Terence textual theatre theatrical Thomas tion tragedy trans translation troupes Vitruvius words writes