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
... 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 another in the mutual mirrors of spectacle and the page. The study of ...
... 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 another in the mutual mirrors of spectacle and the page. The study of ...
Page 8
... written and spoken language, norms for scholarly annotation, and “the Rules” (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious” theatre, embracing its own populism ...
... written and spoken language, norms for scholarly annotation, and “the Rules” (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious” theatre, embracing its own populism ...
Page 16
... written specifically for the professional theatre and printed from playhouse or author manuscripts. But, while these came to dominate the sense of what drama was, throughout the period there were numerous playtexts that gave no ...
... written specifically for the professional theatre and printed from playhouse or author manuscripts. But, while these came to dominate the sense of what drama was, throughout the period there were numerous playtexts that gave no ...
Page 23
... written below are introduced,” explains the text before giving the list of characters.25 Speech-prefixes may be no different from speech tags in other kinds of narratives, full announcements that the words that follow are those of a ...
... written below are introduced,” explains the text before giving the list of characters.25 Speech-prefixes may be no different from speech tags in other kinds of narratives, full announcements that the words that follow are those of a ...
Page 27
... (written and published in ) to his friend the printer Conrad Badius.43 Patrons might also see that plays got to a printer. An unnamed Duke (probably Norfolk) sponsored the printing of a farce satirizing Cardinal Wolsey. Margaret ...
... (written and published in ) to his friend the printer Conrad Badius.43 Patrons might also see that plays got to a printer. An unnamed Duke (probably Norfolk) sponsored the printing of a farce satirizing Cardinal Wolsey. Margaret ...
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