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 43
Page
... Learned Societies, American Philosophical Society, Folger Shakespeare Library, Harvard University, Humboldt Foundation, and National Endowment for the Humanities, as well as Columbia's generous leave policy, gave me the financial ...
... Learned Societies, American Philosophical Society, Folger Shakespeare Library, Harvard University, Humboldt Foundation, and National Endowment for the Humanities, as well as Columbia's generous leave policy, gave me the financial ...
Page 1
... learned architectural disquisitions found themselves in the 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 ...
... learned architectural disquisitions found themselves in the 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 ...
Page 3
... learned” Renaissance playwright Feliciana Enríquez de Guzmán, or the various makers of obscene commedia dell'arte lazzi, or the eighteenth-century actress-autobiographerpuppeteer-sausage-seller Charlotte Charke, treating them as equal ...
... learned” Renaissance playwright Feliciana Enríquez de Guzmán, or the various makers of obscene commedia dell'arte lazzi, or the eighteenth-century actress-autobiographerpuppeteer-sausage-seller Charlotte Charke, treating them as equal ...
Page 8
... 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 opposition to 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 opposition to the ...
Page 16
... learned readers, for instance, might in fact be used as texts for school plays, or by members of the audience who needed help with their Latin, like Queen Elizabeth and several members of her court, who were given five copies of Plautus ...
... learned readers, for instance, might in fact be used as texts for school plays, or by members of the audience who needed help with their Latin, like Queen Elizabeth and several members of her court, who were given five copies of Plautus ...
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