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
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... means , without the prior permission in writing of Oxford University Press , or as expressly permitted by law , or under terms agreed with the appropriate reprographics rights organizations . Enquiries concerning reproduction outside ...
... means , without the prior permission in writing of Oxford University Press , or as expressly permitted by law , or under terms agreed with the appropriate reprographics rights organizations . Enquiries concerning reproduction outside ...
Page 6
... mean that most plays performed actually got printed, that it was normal for a play to be printed as many times as Pierre Pathelinor La Celestina, or that the production of printed playtexts was particularly large (as compared with that ...
... mean that most plays performed actually got printed, that it was normal for a play to be printed as many times as Pierre Pathelinor La Celestina, or that the production of printed playtexts was particularly large (as compared with that ...
Page 7
... mean generic—or even institutional—discontinuity, as so much of the scholarship on medieval and Renaissance theatre of the last century has shown.35 But by the end of the sixteenth century, it became difficult for spectators and readers ...
... mean generic—or even institutional—discontinuity, as so much of the scholarship on medieval and Renaissance theatre of the last century has shown.35 But by the end of the sixteenth century, it became difficult for spectators and readers ...
Page 23
... means is that early dramatic texts (manuscript or printed) regularly spelled out descriptively (for the otherwise befuddled reader) the narrative framework that, by the later sixteenth century, would be abbreviated in typographic ...
... means is that early dramatic texts (manuscript or printed) regularly spelled out descriptively (for the otherwise befuddled reader) the narrative framework that, by the later sixteenth century, would be abbreviated in typographic ...
Page 24
... mean, essentially, “God speketh,” for those readers who understood how dramatic texts worked. In Chapter I will return to the meaning, for the drama, of the typographic differentiation of narrative elements (stage directions, speech ...
... mean, essentially, “God speketh,” for those readers who understood how dramatic texts worked. In Chapter I will return to the meaning, for the drama, of the typographic differentiation of narrative elements (stage directions, speech ...
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