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 57
Page 4
... claims about a purported universality and their colonization of the local. But I am equally leery of relying solely on local accounts, with their implicit claims about phenomena beyond their purview. We need both in a continuing ...
... claims about a purported universality and their colonization of the local. But I am equally leery of relying solely on local accounts, with their implicit claims about phenomena beyond their purview. We need both in a continuing ...
Page 9
... claims of dramatic “poets” and usurping “poetesses,” attempting to distinguish themselves from the mass of aspiring scribblers, self-idealizing in distinguished editions, urgently claiming their descent from the ancients, trying to ...
... claims of dramatic “poets” and usurping “poetesses,” attempting to distinguish themselves from the mass of aspiring scribblers, self-idealizing in distinguished editions, urgently claiming their descent from the ancients, trying to ...
Page 28
... claimed, in accordance with the literary conventions proper to the ideal sixteenth-century scholar-printer),46most such publications were probably generated by a mixture of literary and commercial motives. The publisher Bernardo Giunti ...
... claimed, in accordance with the literary conventions proper to the ideal sixteenth-century scholar-printer),46most such publications were probably generated by a mixture of literary and commercial motives. The publisher Bernardo Giunti ...
Page 31
... claimed, doctor the texts they produced with their own verses. In Parte XIII of his Comedias ( ), Lope de ... claimed to have written over , ), almost half were not published during his lifetime.70 Thomas Heywood claimed ...
... claimed, doctor the texts they produced with their own verses. In Parte XIII of his Comedias ( ), Lope de ... claimed to have written over , ), almost half were not published during his lifetime.70 Thomas Heywood claimed ...
Page 32
... claims to exclusivity (one manuscript copy of A Game at Chess, suppressed by the government, brags: “This, which nor Stage nor Stationer's Stall can showe, | The Common Eye may wish for, but ne're knowe”).79 Manuscript copying (by one ...
... claims to exclusivity (one manuscript copy of A Game at Chess, suppressed by the government, brags: “This, which nor Stage nor Stationer's Stall can showe, | The Common Eye may wish for, but ne're knowe”).79 Manuscript copying (by one ...
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 |
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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