Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's TheatreCambridge University Press, 2000 M07 27 - 298 pages Robert Weimann redefines the relationship between writing and performance, or "playing," in Shakespeare's theater. Through close reading and careful analysis Weimann offers a reconsideration and redefinition of Elizabethan performance and production practices. The study reviews the most recent methodologies of textual scholarship, the new history of the Elizabethan theater, performance theory, and film and video interpretation, and offers a new approach to understanding Shakespeare. Weimann examines a range of plays as well as other contemporary works. A major part of the study explores the duality between playing and writing. |
From inside the book
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Page i
... verbal and performance practices each to " double business bound " ; together they inform his theatre's most potent impulse then and , the author suggests , now , in our own theatre . Robert Weimann is Professor of Drama at the ...
... verbal and performance practices each to " double business bound " ; together they inform his theatre's most potent impulse then and , the author suggests , now , in our own theatre . Robert Weimann is Professor of Drama at the ...
Page 5
... verbal meaning it seeks to convey . For centuries , the involvement of the poet with the theatre was taken to be at best a necessary concession to a circumstan- tial world marked by an extreme degree of contingency , the very opposite ...
... verbal meaning it seeks to convey . For centuries , the involvement of the poet with the theatre was taken to be at best a necessary concession to a circumstan- tial world marked by an extreme degree of contingency , the very opposite ...
Page 6
... verbal oral performance that the text alone is an insufficient guide to the art form " ( Literacy and Orality 125 ) . For one thing , as she adds in a more recent study , " the traditional Western model of ' text ' , " having " strong ...
... verbal oral performance that the text alone is an insufficient guide to the art form " ( Literacy and Orality 125 ) . For one thing , as she adds in a more recent study , " the traditional Western model of ' text ' , " having " strong ...
Page 8
... verbally alive and vibrant in the " mirror . " My suggestion is that Elizabethan perform- ance practice cannot be subsumed under any one purpose of playing ; it must be viewed as plural , as serving a number of diverse functions , as ...
... verbally alive and vibrant in the " mirror . " My suggestion is that Elizabethan perform- ance practice cannot be subsumed under any one purpose of playing ; it must be viewed as plural , as serving a number of diverse functions , as ...
Page 12
... verbally as well as spatially , there is an endless variety in coming to terms with what ( dis ) continuity there was between the imaginary world - in - the - play and the playing - in - the- world of early modern London . In particular ...
... verbally as well as spatially , there is an endless variety in coming to terms with what ( dis ) continuity there was between the imaginary world - in - the - play and the playing - in - the- world of early modern London . In particular ...
Contents
Performance and authority in Hamlet 1603 | 18 |
A new agenda for authority | 29 |
The low and ignorant crust of corruption | 31 |
Towards a circulation of authority in the theatre | 36 |
distraction in authority | 43 |
Pen and voice versions of doubleness | 54 |
Frivolous jestures vs matter of worthiness Tamburlaine | 56 |
Bifold authority in Troilus and Cressida | 62 |
Renaissance writing and common playing | 153 |
Unworthy antics in the glass of fashion | 161 |
When in one line two crafts directly meet | 169 |
Wordplay and the mirror of representation | 174 |
Space individable locus and platea revisited | 180 |
the locus | 182 |
provenance and function | 192 |
Locus and platea in Macbeth | 196 |
Unworthy scaffold for so great an object Henry V | 70 |
Playing with a difference | 79 |
To disfigure or to present A Midsummer Nights Dream | 80 |
To descant on difference and deformity Richard III | 88 |
The selfresembled show | 98 |
Presentation or the performant function | 102 |
Histories in Elizabethan performance | 109 |
Disparity in midElizabethan theatre history | 110 |
Reforming a whole theatre of others Hamlet | 121 |
From common player to excellent actor | 131 |
Differentiation exclusion withdrawal | 136 |
Hamlet and the purposes of playing | 151 |
Other editions - View all
Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre Robert Weimann No preview available - 2000 |
Common terms and phrases
acting action actor's voice actors Andrew Gurr antic Apemantus appears audience author's pen banquet bifold century character circulation of authority clown comedy common players context contrariety course criticism cultural authority deformity differentiation discourse disfigurement doubleness dramatic representation dramatic text dramaturgy element Elizabethan performance Elizabethan stage Elizabethan theatre epilogue function gesture Hamlet high Renaissance Histriomastix holy humanist imaginary implicated John Marston language least liminal literary locus and platea Macbeth marked matter medieval theatre memory Midsummer Night's Dream mimesis mirror mode notes oral performance practice phrase platea play's playhouse playtext poetics political present production Prologue purpose of playing Quarto question reading relations Renaissance represented rhetoric role scene semiotics sense serves Shakespeare's theatre signifying social spatial spectators speech Stephen Orgel suggest symbolic Tamburlaine textual theatrical space threshold tion traditional Troilus and Cressida unworthy scaffold verbal words writing and playing
References to this book
Maps and Memory in Early Modern England: A Sense of Place Rhonda Lemke Sanford No preview available - 2002 |