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
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Page 28
... writes to his dedicatee and potential patron, Giovanni Mocenigo, in his edition of Gianmaria Cecchi's Comedie, that because Cecchi was so “copious of invention, of grace, and of poetic vivacity,” Mocenigo will not only be ...
... writes to his dedicatee and potential patron, Giovanni Mocenigo, in his edition of Gianmaria Cecchi's Comedie, that because Cecchi was so “copious of invention, of grace, and of poetic vivacity,” Mocenigo will not only be ...
Page 35
... writes Cervantes to his readers after his interludes were rejected by the theatre, “when you see my cursed theatre manager, tell him to mend his ways”).105 But publication could also stimulate theatrical enthusiasms, and there was ...
... writes Cervantes to his readers after his interludes were rejected by the theatre, “when you see my cursed theatre manager, tell him to mend his ways”).105 But publication could also stimulate theatrical enthusiasms, and there was ...
Page 40
... writes Guillén de Castro.130 Hardy registered his exasperation with the publisher of the first three volumes of his Theatre, Jacques Quesnel, complaining in the preface to the fourth volume (which he published instead with David du ...
... writes Guillén de Castro.130 Hardy registered his exasperation with the publisher of the first three volumes of his Theatre, Jacques Quesnel, complaining in the preface to the fourth volume (which he published instead with David du ...
Page 48
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Page 53
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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