Playhouse and Cosmos: Shakespearean Theater as MetaphorUniversity of Delaware Press, 1985 - 188 páginas Playhouse and Cosmos systematically and comprehensively describes the function of theater and role-playing as metaphors in Shakespearean drama. The author examines this metaphor's revelatory and liberating power and concludes by affirming, with Shakespeare, the creative power of theatricality in life and in art. |
Dentro del libro
Resultados 1-5 de 39
Página 11
... become actors or spectators , staging plays within the play , so that relationships of life and theater are embedded ... becomes her own actor and dramatizes herself for Orlando , just as the actor plays Rosalind ( playing Rosalind ) for ...
... become actors or spectators , staging plays within the play , so that relationships of life and theater are embedded ... becomes her own actor and dramatizes herself for Orlando , just as the actor plays Rosalind ( playing Rosalind ) for ...
Página 16
... becomes problematic or inaccessible , lying within or beyond the sur- face of life . What Jonas Barish calls " antitheatrical prejudice " bears witness to the problematic sense of reality that emerges as a contrary of play . Tertullian ...
... becomes problematic or inaccessible , lying within or beyond the sur- face of life . What Jonas Barish calls " antitheatrical prejudice " bears witness to the problematic sense of reality that emerges as a contrary of play . Tertullian ...
Página 17
... becomes a complex analogy of relationships — an extended metaphor . The actor imitates human re- ality not because he mimics life directly but because his relation to his role resembles the internal relations that constitute human ...
... becomes a complex analogy of relationships — an extended metaphor . The actor imitates human re- ality not because he mimics life directly but because his relation to his role resembles the internal relations that constitute human ...
Página 19
... becomes her own actor . The characters ' return from the forest to the normal world is only anticipated as the play concludes , but it is virtu- ally acted out by the spectators when they return from the playhouse to their normal world ...
... becomes her own actor . The characters ' return from the forest to the normal world is only anticipated as the play concludes , but it is virtu- ally acted out by the spectators when they return from the playhouse to their normal world ...
Página 25
... become parts of the dramatic image itself . G. K. Hunter's comparison of Shakespearean comedy to earlier court comedies by ... becomes for Shakespeare a rela- tionship within the play itself : " If Shakespeare is going to talk about the ...
... become parts of the dramatic image itself . G. K. Hunter's comparison of Shakespearean comedy to earlier court comedies by ... becomes for Shakespeare a rela- tionship within the play itself : " If Shakespeare is going to talk about the ...
Contenido
23 | |
Reality in Play Playhouse as Emblem Performance as Metaphor | 45 |
Reality and Play in Dramatic Fiction | 67 |
Theatrical Fiction and the Reality of Love in As You Like It | 86 |
Heroism History and the Theater in Henry V | 102 |
From Community to Society Cultural Transformation in Macbeth | 126 |
Conclusion | 148 |
Notes | 152 |
171 | |
185 | |
Términos y frases comunes
action actor actors and spectators affirms ambivalence Atlas audience auditorium Banquo Cambridge character Chicago Chorus Clarendon Press comedy cosmic emblem cosmos Critical defined dimensions disguise dramatic fiction dramatist Dream E. K. Chambers Edward Edward III Elizabethan drama embodies English Ernst Cassirer Essays experience fictive forest Ganymede Globe Gregory Smith Harry Berger Henry Henry's heroic heroism heterocosm human ideal imagination inner Kernan king London lovers Macbeth Macduff Malcolm Menaechmi metacritical metaphor Midsummer Night's Dream mimesis mimetic mind mode narrative nature normal world object objectifies opening scenes Orlando Oxford pattern of withdrawal play and reality play's players poetic poetry present Princeton projections relation relationship Renaissance response role role-playing Rosalind says setting Shake Shakespeare Shakespeare Quarterly Shakespearean drama Sidney stage Stephen Gosson structure subjective symbol Tamburlaine theater theatrical artifice theatrical event theatrical performance Theatrum thought tion Tragedies trans transform witches withdrawal and return Yale University York