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. |
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Page 171
... Poet is different from the Lyric Poet and the Epic Poet in his mode of imitation . The Lyric Poet simply narrates , without ridding himself of his own persona . The Epic Poet sometimes retains it , sometimes rids himself of it , in part ...
... Poet is different from the Lyric Poet and the Epic Poet in his mode of imitation . The Lyric Poet simply narrates , without ridding himself of his own persona . The Epic Poet sometimes retains it , sometimes rids himself of it , in part ...
Page 205
... poet , " " author , " " dramatist " ; on the other , " versifier , " " scribbler , " " Jean - de - Lettres , ” all identified with the " muddied poet " ( “ poète crotte " ) described by the Sieur de Saint - Amant , or the " necessitous ...
... poet , " " author , " " dramatist " ; on the other , " versifier , " " scribbler , " " Jean - de - Lettres , ” all identified with the " muddied poet " ( “ poète crotte " ) described by the Sieur de Saint - Amant , or the " necessitous ...
Page 227
... poet cannot compose a plot composed by another poet , for this would either be history or theft . " 32 By a few decades into the seventeenth century , traditional attitudes about the value of " Imitation " founded in “ Studie " ( in ...
... poet cannot compose a plot composed by another poet , for this would either be history or theft . " 32 By a few decades into the seventeenth century , traditional attitudes about the value of " Imitation " founded in “ Studie " ( in ...
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