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 6-10 of 72
Page 31
... fact the commonplace book served as inspiration for audience thieves.. ,... Whatever the abundance of sixteenth-century printed drama, whatever competition for ...
... fact the commonplace book served as inspiration for audience thieves.. ,... Whatever the abundance of sixteenth-century printed drama, whatever competition for ...
Page 33
... fact that most printers would not undertake to print what would not sell in fairly large numbers, and playbooks were in limited demand.83 While there were certainly plenty of play readers (the readers about whom William Prynne was so ...
... fact that most printers would not undertake to print what would not sell in fairly large numbers, and playbooks were in limited demand.83 While there were certainly plenty of play readers (the readers about whom William Prynne was so ...
Page 34
... fact that English acting companies appear sometimes to have withheld playtexts from the press: the first, that troupes feared that printing made plays “stale”; the second, that the circulation of the text in print allowed rival troupes ...
... fact that English acting companies appear sometimes to have withheld playtexts from the press: the first, that troupes feared that printing made plays “stale”; the second, that the circulation of the text in print allowed rival troupes ...
Page 37
... fact, managers could pay as much as , reales per script.118Heywood was probably simply making the wiser financial choice in proclaiming himself ever “faithfull to” the theatre.119 But sale to a publisher in and of itself would ...
... fact, managers could pay as much as , reales per script.118Heywood was probably simply making the wiser financial choice in proclaiming himself ever “faithfull to” the theatre.119 But sale to a publisher in and of itself would ...
Page 39
... fact the work of William Shakespeare, or that most of the plays published in 1603 as Six Comedias by Lope de Vega(with the appended phrase “and other authors” added protectively) were actually those of Lope himself.123 There was ...
... fact the work of William Shakespeare, or that most of the plays published in 1603 as Six Comedias by Lope de Vega(with the appended phrase “and other authors” added protectively) were actually those of Lope himself.123 There was ...
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 |
Theatre of the Book, 1480-1880: Print, Text, and Performance in Europe Julie Stone Peters Limited preview - 2000 |
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