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 68
Page 2
... 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 cultural understanding of ...
... 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 cultural understanding of ...
Page 15
... forms of documentation—records of an event—but they served a multitude of other purposes. They could be, among other things: testimony to the generosity 1: Experimenting on the Page, 1480-1630 THE PROLIFERATION OF PLAYTEXTS.
... forms of documentation—records of an event—but they served a multitude of other purposes. They could be, among other things: testimony to the generosity 1: Experimenting on the Page, 1480-1630 THE PROLIFERATION OF PLAYTEXTS.
Page 16
... things: testimony to the generosity of the performance's patron; instructions to performers on how to put on a play; recollections for the spectator of past performances; libretti or souvenirs; or quite simply (like other forms of ...
... things: testimony to the generosity of the performance's patron; instructions to performers on how to put on a play; recollections for the spectator of past performances; libretti or souvenirs; or quite simply (like other forms of ...
Page 22
... things to say, on the one hand, that there was no distinctively dramatic mise en pageuntil the sixteenth century, or that typography created the drama as a distinct genre. One need only look at Pierre Levet's edition of Pierre Pathelin ...
... things to say, on the one hand, that there was no distinctively dramatic mise en pageuntil the sixteenth century, or that typography created the drama as a distinct genre. One need only look at Pierre Levet's edition of Pierre Pathelin ...
Page 23
... things.28 If such things as style of speech-prefixes or placement of stage directions are “accidentals,” they were deliberately accidental—exploratory attempts to use typography meaningfully, not yet bound to printerly protocols. Where ...
... things.28 If such things as style of speech-prefixes or placement of stage directions are “accidentals,” they were deliberately accidental—exploratory attempts to use typography meaningfully, not yet bound to printerly protocols. Where ...
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