Shakespeare the Actor and the Purposes of PlayingUniversity of Chicago Press, 1993 - 325 pages For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in Shakespeare's England and shows why a knowledge of actual theatrical practices is essential for understanding both Shakespeare's plays and the theatricality of everyday life in early modern England. Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance. |
From inside the book
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Page vii
... Players : Proud Beggars " Now Up and Now Down " 29 The Player Offstage : Fact and Fantasy 30 The Player Onstage : Mimesis and Performance 46 Proud Beggar Onstage : Clown and Epilogue 57 Three Richard III : Shakespeare's " False Glass ...
... Players : Proud Beggars " Now Up and Now Down " 29 The Player Offstage : Fact and Fantasy 30 The Player Onstage : Mimesis and Performance 46 Proud Beggar Onstage : Clown and Epilogue 57 Three Richard III : Shakespeare's " False Glass ...
Page 2
... players ' lives , and their caution should guide any inquiry . Elizabethan actors have not left the copious records typical of their opponents like the prolific William Prynne , who saw plays as Satan's work . But , like other ...
... players ' lives , and their caution should guide any inquiry . Elizabethan actors have not left the copious records typical of their opponents like the prolific William Prynne , who saw plays as Satan's work . But , like other ...
Page 4
... player's " profession has in it a kind of contradiction , " said J. Earle in 1628 , " for none is more dislik'd ... player even more vulnerable to the fantasies modern actors report regarding the fickle mob . The popular image of the ...
... player's " profession has in it a kind of contradiction , " said J. Earle in 1628 , " for none is more dislik'd ... player even more vulnerable to the fantasies modern actors report regarding the fickle mob . The popular image of the ...
Page 5
... players he invented and the real ones who played them , his fictive players can be illuminated when read against what we know about his life , about actors , and about Elizabethan theater . The more marginal nature and function of ...
... players he invented and the real ones who played them , his fictive players can be illuminated when read against what we know about his life , about actors , and about Elizabethan theater . The more marginal nature and function of ...
Page 6
Meredith Anne Skura. plays , where Shakespeare's attention turns from the beggarly player to the lord who finances and directs the play . Some of the figures considered at the end of chapter 5 are not literally players or directors , nor ...
Meredith Anne Skura. plays , where Shakespeare's attention turns from the beggarly player to the lord who finances and directs the play . Some of the figures considered at the end of chapter 5 are not literally players or directors , nor ...
Common terms and phrases
Actaeon acting Anne Antony Arden Armado attack audience audience's baiting Barber and Wheeler bearbaiting beggar Bottom Brutus Caesar called Callow chapter character child cited in Chambers clown Comedy Coriolanus crowd crown death deer describes Drama dream Elizabethan Stage English Epilogue Fairy Falstaff fantasies father fawning fear flattering fool Hal's Hamlet Henriad Henry Henry IV Henry VI Histriomastix histrionic hunt identified inner plays italics added John John Marston Jonson King King Lear kneel Launce Lear literally London Lord Love's Labour's Lost male Midsummer Night's Dream mirror mother murder narcissistic offstage onstage performance play's players poet Queen Renaissance Richard Richard III role says scene Shake Shakespeare shame Shrew Sly's social sonnet speare's stage fright story suggests Tarlton tells theater theatrical thee Thomas thou Timon Timon of Athens Titus Titus Andronicus University Press Wives wounds York