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
Results 1-5 of 83
Page 6
... characters” in Paris and published in three volumes in .24 Like the treatises, plays could see numerous editions: Encina's works appeared in seven editions between and alone; the farce Maistre Pierre Pathelin ...
... characters” in Paris and published in three volumes in .24 Like the treatises, plays could see numerous editions: Encina's works appeared in seven editions between and alone; the farce Maistre Pierre Pathelin ...
Page 10
... character indications of the eighteenth- and nineteenth-century text. Chapter , “Actor/Author,” describes the role of print in the creation of the actor as author of the scene—paradigm of social role-playing, prototype for the ...
... character indications of the eighteenth- and nineteenth-century text. Chapter , “Actor/Author,” describes the role of print in the creation of the actor as author of the scene—paradigm of social role-playing, prototype for the ...
Page 16
... character dialogues of various kinds. The short saints' plays, farces, morals on traditional themes (Patient Griselda, The Prodigal Son) tended to serve the same purpose as other kinds of entertaining reading. They might be used by the ...
... character dialogues of various kinds. The short saints' plays, farces, morals on traditional themes (Patient Griselda, The Prodigal Son) tended to serve the same purpose as other kinds of entertaining reading. They might be used by the ...
Page 23
... characters whose names are written below are introduced,” explains the text before giving the list of characters.25 Speech-prefixes may be no different from speech tags in other kinds of narratives, full announcements that the words ...
... characters whose names are written below are introduced,” explains the text before giving the list of characters.25 Speech-prefixes may be no different from speech tags in other kinds of narratives, full announcements that the words ...
Page 24
... characters. Suffice it to say, here, that the typographic-visual distinction of the drama from other kinds of writing during the sixteenth century played a crucial role in the representation of drama as a distinct genre. The growth of ...
... characters. Suffice it to say, here, that the typographic-visual distinction of the drama from other kinds of writing during the sixteenth century played a crucial role in the representation of drama as a distinct genre. The growth of ...
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