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 52
Page 1
... classical balconies spilling forth their fruits, filled with fashionable and richly robed onlookers, reigned over by a pot-bellied cherub waving his wand from the theatrical heavens, directing (in the scene below) the dancer and scroll ...
... classical balconies spilling forth their fruits, filled with fashionable and richly robed onlookers, reigned over by a pot-bellied cherub waving his wand from the theatrical heavens, directing (in the scene below) the dancer and scroll ...
Page 3
... classical,” “court” versus“school” or “public,” “amateur” versus “professional”), finding them inadequately descriptive and ultimately more misleading than illuminating for my arguments. Rather than directly contesting them, however, I ...
... classical,” “court” versus“school” or “public,” “amateur” versus “professional”), finding them inadequately descriptive and ultimately more misleading than illuminating for my arguments. Rather than directly contesting them, however, I ...
Page 5
... classical play Stilpho had been performed in Heidelberg around , encouraged his pupil Peter Attendorn to learn printing (giving him several of his own works to print).10Both Juan del Encina and Bartolomé de Torres Naharro ...
... classical play Stilpho had been performed in Heidelberg around , encouraged his pupil Peter Attendorn to learn printing (giving him several of his own works to print).10Both Juan del Encina and Bartolomé de Torres Naharro ...
Page 6
... classical scenic design that Inigo Jones went to Rome and Vicenza, it was equally important that he carried back to London a copy of Serlio, along with Bernardo Buontalenti's and Giulio Parigi's theatrical prints. In Introduction.
... classical scenic design that Inigo Jones went to Rome and Vicenza, it was equally important that he carried back to London a copy of Serlio, along with Bernardo Buontalenti's and Giulio Parigi's theatrical prints. In Introduction.
Page 7
... classical genres in the new plays being circulated by the press, an institution (or, more accurately, a set of institutions) was created. Theatres used exclusively for the production of plays sprang up. Elaborate perspectival views were ...
... classical genres in the new plays being circulated by the press, an institution (or, more accurately, a set of institutions) was created. Theatres used exclusively for the production of plays sprang up. Elaborate perspectival views were ...
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