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 75
Page 1
... hands of princes with a taste for fireworks and singing shepherds. Performance had to reconceive its relation to the text. In disseminating volumes of Terence and Plautus and Seneca and identifying them with gesticulating actors on ...
... hands of princes with a taste for fireworks and singing shepherds. Performance had to reconceive its relation to the text. In disseminating volumes of Terence and Plautus and Seneca and identifying them with gesticulating actors on ...
Page 8
... hand, manuals for the improvement of written and spoken language, norms for scholarly annotation, and “the Rules” (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious ...
... hand, manuals for the improvement of written and spoken language, norms for scholarly annotation, and “the Rules” (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious ...
Page 17
... hand drawn, as are the smaller initial letters of every line of Terence's text, and spaces have been left in the commentary for Greek words to be entered by hand.14 Even in books not intended for scholarly readers, printers often left ...
... hand drawn, as are the smaller initial letters of every line of Terence's text, and spaces have been left in the commentary for Greek words to be entered by hand.14 Even in books not intended for scholarly readers, printers often left ...
Page 22
... hand, that there was no distinctively dramatic mise en pageuntil the sixteenth century, or that typography created the drama as a distinct genre. One need only look at Pierre Levet's edition of Pierre Pathelin (printed in ...
... hand, that there was no distinctively dramatic mise en pageuntil the sixteenth century, or that typography created the drama as a distinct genre. One need only look at Pierre Levet's edition of Pierre Pathelin (printed in ...
Page 27
... hand a knobby and spiny club, and in his right hand his gilded Pan-pipes. . . . At the other end of the room ... an artificial garden was created, ... embellished with a diversity of sorts of flowers, and also strawberries, cucumbers ...
... hand a knobby and spiny club, and in his right hand his gilded Pan-pipes. . . . At the other end of the room ... an artificial garden was created, ... embellished with a diversity of sorts of flowers, and also strawberries, cucumbers ...
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