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 90
Page 28
... instance, 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 ...
... instance, 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 ...
Page 32
... instance, performed and published in and , or Jacques Grévin's César, performed and published in ), most were published only after a considerable time lag, often six or seven years, sometimes twenty or more.73 ...
... instance, performed and published in and , or Jacques Grévin's César, performed and published in ), most were published only after a considerable time lag, often six or seven years, sometimes twenty or more.73 ...
Page 33
... instance, not in need of scenic trappings. Some playbooks, however, were in high demand, as we have already seen. There would not have been some fourteen editions of the anonymous Mucedorus and Amandine between and , or ...
... instance, not in need of scenic trappings. Some playbooks, however, were in high demand, as we have already seen. There would not have been some fourteen editions of the anonymous Mucedorus and Amandine between and , or ...
Page 34
... instance.101 That there were frequent unauthorized editions of these playwrights, and that major collections of their plays were published towards the end of their careers (or posthumously), suggest that the demand was there. In some ...
... instance.101 That there were frequent unauthorized editions of these playwrights, and that major collections of their plays were published towards the end of their careers (or posthumously), suggest that the demand was there. In some ...
Page 35
... instance the masque books which the King's company paid Heminge and Dekker to print, promising a show “on the Morrow next”) (Fig. ) usually served as advertising, souvenir, supplement, not as competitive entertainment in their own ...
... instance the masque books which the King's company paid Heminge and Dekker to print, promising a show “on the Morrow next”) (Fig. ) usually served as advertising, souvenir, supplement, not as competitive entertainment in their own ...
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