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 73
Page 7
... representing “several comedies and moralitiesof which they have exhibited the printed books.”32 The first quartos of The White Devil, A Looking Glasse for London and England, The Travels of the Three English Brothers, Pericles, and King ...
... representing “several comedies and moralitiesof which they have exhibited the printed books.”32 The first quartos of The White Devil, A Looking Glasse for London and England, The Travels of the Three English Brothers, Pericles, and King ...
Page 8
... represented by actors “playing by the book.” Chapter , “Critical Law, Theatrical Licence,” explores the tension between, on the one hand, manuals for the improvement of written and spoken language, norms for scholarly annotation, and ...
... represented by actors “playing by the book.” Chapter , “Critical Law, Theatrical Licence,” explores the tension between, on the one hand, manuals for the improvement of written and spoken language, norms for scholarly annotation, and ...
Page 23
... representing drama on the page: throughout Europe in the first half of the sixteenth century, dramatic mise en page looked much like the mise en page of other kinds of works; only in the later sixteenth century did it develop ...
... representing drama on the page: throughout Europe in the first half of the sixteenth century, dramatic mise en page looked much like the mise en page of other kinds of works; only in the later sixteenth century did it develop ...
Page 27
... representing the foure Vertues that supported a Globe of the earth.”40 Such descriptions offered a model for scenic annotation that was to be crucial to the theatre's sense of itself in the centuries that followed ...
... representing the foure Vertues that supported a Globe of the earth.”40 Such descriptions offered a model for scenic annotation that was to be crucial to the theatre's sense of itself in the centuries that followed ...
Page 36
... represented by the Company of Hernan Sanchez de Vargas, Sanchez began to interrupt the argument and cut short the speeches so obviously that, being questioned as to the cause of this hastening and mutilation of the play, he replied ...
... represented by the Company of Hernan Sanchez de Vargas, Sanchez began to interrupt the argument and cut short the speeches so obviously that, being questioned as to the cause of this hastening and mutilation of the play, he replied ...
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