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 92
Page 2
... stage—to understand that thing called “theatre.” The chapters that follow offer an account of the entangled histories of print and the modern stage, addressing the meaning of this relationship for the theatre itself and for the broader ...
... stage—to understand that thing called “theatre.” The chapters that follow offer an account of the entangled histories of print and the modern stage, addressing the meaning of this relationship for the theatre itself and for the broader ...
Page 5
... stage and the early stage kept aloof from the press. But nearly a century before Shakespeare was born, there began, in fact, to develop a relationship that would help create the theatre for which he wrote. Printing, far from being ...
... stage and the early stage kept aloof from the press. But nearly a century before Shakespeare was born, there began, in fact, to develop a relationship that would help create the theatre for which he wrote. Printing, far from being ...
Page 8
... stage and on the page. The elaboration of the distinction between text and performance, between the experience of reading and the experience of watching a play—made possible by the proliferation of dramatic texts in the theatre and in ...
... stage and on the page. The elaboration of the distinction between text and performance, between the experience of reading and the experience of watching a play—made possible by the proliferation of dramatic texts in the theatre and in ...
Page 9
... stage. Chapter 7, “The Sense of the Senses: Sound, Gesture, and the Body on Stage,” examines the role of print in the representation and notation of theatrical media, looking at the shifting positions of the senses identified with them ...
... stage. Chapter 7, “The Sense of the Senses: Sound, Gesture, and the Body on Stage,” examines the role of print in the representation and notation of theatrical media, looking at the shifting positions of the senses identified with them ...
Page 15
... stage directions. There were ornate presentation copies, like the Arras manuscript of Eustache Mercadé's Mystery of the Passion (from the first quarter of the fifteenth century), with its beautifully rendered illustrations of such ...
... stage directions. There were ornate presentation copies, like the Arras manuscript of Eustache Mercadé's Mystery of the Passion (from the first quarter of the fifteenth century), with its beautifully rendered illustrations of such ...
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