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 44
Page 8
... distinction between dramatic text and theatrical performance had displaced the medieval distinction between merely reciting plays and “represent[ing]” them “with [one's] limbs.”36 Drama was understood to play itself out in two arenas—on ...
... distinction between dramatic text and theatrical performance had displaced the medieval distinction between merely reciting plays and “represent[ing]” them “with [one's] limbs.”36 Drama was understood to play itself out in two arenas—on ...
Page 9
... distinction of poetic “original” from copy—crucial to the conceptualization of the playtext as authorial property, by nature owned by the authorcreator. Chapter 12, “Making It Public,” looks at the interplay between theatrical and print ...
... distinction of poetic “original” from copy—crucial to the conceptualization of the playtext as authorial property, by nature owned by the authorcreator. Chapter 12, “Making It Public,” looks at the interplay between theatrical and print ...
Page 17
... distinction may, in fact, be an artificial one: books made during this period often combined printed and manuscript elements, and manuscript works and printed works were often bound together.13 In one copy of the Venetian ...
... distinction may, in fact, be an artificial one: books made during this period often combined printed and manuscript elements, and manuscript works and printed works were often bound together.13 In one copy of the Venetian ...
Page 24
... 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 the professional theatre, along with the growing play readership ...
... 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 the professional theatre, along with the growing play readership ...
Page 29
... distinctions here are, in some ways, artificial: many of the professional playwrights writing for companies before the 1630s were also actors (even if minor ones), and many of these were also company sharers and managers.51 One need not ...
... distinctions here are, in some ways, artificial: many of the professional playwrights writing for companies before the 1630s were also actors (even if minor ones), and many of these were also company sharers and managers.51 One need not ...
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