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. |
From inside the book
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Page 5
... John Rastell printed his own editions of the dramatic Dialogue of Gentleness and Nobilityand his version of the tragicomedy, Calisto and Meliboea, in the same year in which he produced them in the theatre in his garden at Finsbury ...
... John Rastell printed his own editions of the dramatic Dialogue of Gentleness and Nobilityand his version of the tragicomedy, Calisto and Meliboea, in the same year in which he produced them in the theatre in his garden at Finsbury ...
Page 17
... John Rastell in , instructions for singers are followed by four blank music bars, which are to be filled in with hand-drawn notes, like those added to one of the songs in several copies: “Tyme to pas with goodly sport our spryte ...
... John Rastell in , instructions for singers are followed by four blank music bars, which are to be filled in with hand-drawn notes, like those added to one of the songs in several copies: “Tyme to pas with goodly sport our spryte ...
Page 26
... John Rastell's edition of Skelton's Magnyfycence (printed c. ), for instance, are prescriptive, explaining how the play is to be performed: “Here magnyfycence wolde flee hymselfe with a knyfe.” Where they do prescribe tone and ...
... John Rastell's edition of Skelton's Magnyfycence (printed c. ), for instance, are prescriptive, explaining how the play is to be performed: “Here magnyfycence wolde flee hymselfe with a knyfe.” Where they do prescribe tone and ...
Page 48
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Page 52
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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 |
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