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 67
Page 2
... seen as a chapter in the cultural history of communication, in how writing gets turned into action and how action gets recorded in writing, in how people conceive of the relation between them, in how they perform themselves to one ...
... seen as a chapter in the cultural history of communication, in how writing gets turned into action and how action gets recorded in writing, in how people conceive of the relation between them, in how they perform themselves to one ...
Page 4
... seen as steadily evolutionary or revolutionary, but as something more kaleidoscopic: moving in fits and starts, drawing on pre-existing institutions, conceptual paradigms, and aesthetic forms, and recombining and remaking them in ...
... seen as steadily evolutionary or revolutionary, but as something more kaleidoscopic: moving in fits and starts, drawing on pre-existing institutions, conceptual paradigms, and aesthetic forms, and recombining and remaking them in ...
Page 5
... 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, universities, and courts across Europe were drawing their inspiration ...
... 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, universities, and courts across Europe were drawing their inspiration ...
Page 10
... performing machine and the end of an era in which theatre was seen through, defined by, and understood in relation to the printed text. Note on Editions, Spellings, Translations, and Citations Where visual or Introduction.
... performing machine and the end of an era in which theatre was seen through, defined by, and understood in relation to the printed text. Note on Editions, Spellings, Translations, and Citations Where visual or Introduction.
Page 16
... seen the use of printed texts by sixteenth-century actors of various sorts. The many texts that offered explanations of how they were to be played were clearly intended for performers, whether travelling troupes or town amateurs of the ...
... seen the use of printed texts by sixteenth-century actors of various sorts. The many texts that offered explanations of how they were to be played were clearly intended for performers, whether travelling troupes or town amateurs of the ...
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