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 80
Page 1
... identifying them with gesticulating actors on stages, with painted streets and trees, in promoting standards against which the multitude of local performance genres could measure themselves, in textualizing the singing of the jongleurs ...
... identifying them with gesticulating actors on stages, with painted streets and trees, in promoting standards against which the multitude of local performance genres could measure themselves, in textualizing the singing of the jongleurs ...
Page 8
... (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious” theatre, embracing its own populism and drawing an alternative legitimacy from a spectatorship defined in ...
... (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious” theatre, embracing its own populism and drawing an alternative legitimacy from a spectatorship defined in ...
Page 9
... identified with them: the disappearance of the tactile and olfactory; the legitimation of stage gesture; the ... identification of piracy and plagiarism as thievery, and the distinction of poetic “original” from copy—crucial to the ...
... identified with them: the disappearance of the tactile and olfactory; the legitimation of stage gesture; the ... identification of piracy and plagiarism as thievery, and the distinction of poetic “original” from copy—crucial to the ...
Page 11
... identifying information in parentheses. I cite non-consecutively paginated volumes by short title, followed by a bracketed citation to the work within the volume and its page number. Act, scene, and line numbers appear in the form IV.ii ...
... identifying information in parentheses. I cite non-consecutively paginated volumes by short title, followed by a bracketed citation to the work within the volume and its page number. Act, scene, and line numbers appear in the form IV.ii ...
Page 19
... identification of the text and its producers, for instance printers' ornaments at the ends of texts or on title pages. Foliation or pagination, indented paragraphs, running titles, catchwords, tables of contents, and indexes contributed ...
... identification of the text and its producers, for instance printers' ornaments at the ends of texts or on title pages. Foliation or pagination, indented paragraphs, running titles, catchwords, tables of contents, and indexes contributed ...
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