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 87
Page 3
... 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 (if sometimes deviant) ...
... 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 (if sometimes deviant) ...
Page 5
... playwright Hans Sachs's interest in the printing trade can be seen in the illustrations to his True Description of All Trades ( ).14 As important, those attempting to re-create ancient performances on stages in academies ...
... playwright Hans Sachs's interest in the printing trade can be seen in the illustrations to his True Description of All Trades ( ).14 As important, those attempting to re-create ancient performances on stages in academies ...
Page 29
... playwrights themselves. The 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 ...
... playwrights themselves. The 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 ...
Page 31
... but it is impossible to know whether this merely gave playwrights and companies the impression that their plays were being taken wholesale, or whether in fact the commonplace book served as inspiration for audience thieves ...
... but it is impossible to know whether this merely gave playwrights and companies the impression that their plays were being taken wholesale, or whether in fact the commonplace book served as inspiration for audience thieves ...
Page 33
... playwrights of the day) was only a moderate seller.87 What troupes must have preferred were playbooks they could play, but, since there were only so many troupes, this was a limited market. Those who were rich enough to buy books ...
... playwrights of the day) was only a moderate seller.87 What troupes must have preferred were playbooks they could play, but, since there were only so many troupes, this was a limited market. Those who were rich enough to buy books ...
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