Theatre of the Book, 1480-1880: Print, Text, and Performance in EuropeOxford University Press, 2000 M11 9 - 494 pages 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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Page 34
... seemed clear to company management that, when the company had paid the playwright a significant sum for a new play, the company should receive allthe potential value of its use. Certainly by the 1620s there was a tension between company ...
... seemed clear to company management that, when the company had paid the playwright a significant sum for a new play, the company should receive allthe potential value of its use. Certainly by the 1620s there was a tension between company ...
Page 35
... seemed a way of ensuring that one would not arrive in a town after one's “new” play had already got there. It is clear that there was such withholding, in any case, and that some of the dramatists attached to companies had contracts not ...
... seemed a way of ensuring that one would not arrive in a town after one's “new” play had already got there. It is clear that there was such withholding, in any case, and that some of the dramatists attached to companies had contracts not ...
Page 38
... seemed a waste of time . If , for instance , a revised edition of a play could not be found , most printers were happy to use any available copy , so long as they could convince buyers that it was ( for instance ) the Hamlet ...
... seemed a waste of time . If , for instance , a revised edition of a play could not be found , most printers were happy to use any available copy , so long as they could convince buyers that it was ( for instance ) the Hamlet ...
Page 41
... seemed the inevitable culmination of the production of a play. “The Impression of Plays, is so much the Practice of the Age,” wrote Edward Howard in the “epistle” to his tragedy The Usurper( ), “that few or none have been Acted ...
... seemed the inevitable culmination of the production of a play. “The Impression of Plays, is so much the Practice of the Age,” wrote Edward Howard in the “epistle” to his tragedy The Usurper( ), “that few or none have been Acted ...
Page 45
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Contents
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 |
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
acting action actors aesthetic attempt Beaumont and Fletcher become beginning body century Chapter characters claims classical collection Comedies Complete continued contract copies Corneille corrected create critics culture dedication describes directions discussion distinction drama dramatic dramatists early edition eighteenth English explains expression fact figures French gesture give hand identified illustrations imagination imitation important instance Italy John Jonson kind language late later learned letters Library literary living managers manuscript means narrative nature notes offer once original performance period Plautus plays playwrights poem poet poetic poetry preface printed printers production published readers reading reflected Renaissance represented scene scenic seemed seen senses seventeenth Shakespeare similarly space spectators speech stage theatre theatrical things Thomas tion tragedy trans translation various voice writes written