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 28
Página 11
... established in her disguise as Ganymede . In disguise , she becomes her own actor and dramatizes herself for Orlando , just as the actor plays Rosalind ( playing Rosalind ) for the audience . While Rosalind's disguise gives self ...
... established in her disguise as Ganymede . In disguise , she becomes her own actor and dramatizes herself for Orlando , just as the actor plays Rosalind ( playing Rosalind ) for the audience . While Rosalind's disguise gives self ...
Página 18
... established in our own interpretive response . Yet that response is guided by relations of " play " and " reality " that the dramatist does establish inside the theater and within dramatic fiction . This understanding of Shakespearean ...
... established in our own interpretive response . Yet that response is guided by relations of " play " and " reality " that the dramatist does establish inside the theater and within dramatic fiction . This understanding of Shakespearean ...
Página 19
... established in the temporal dimension of dra- matic action through the pattern of withdrawal and return . These three levels , though distinct , are analogous and reinforce one another , so that the theatrical occasion is deeply ...
... established in the temporal dimension of dra- matic action through the pattern of withdrawal and return . These three levels , though distinct , are analogous and reinforce one another , so that the theatrical occasion is deeply ...
Página 26
... establish the inherent symbolic values of the spaces defined by the playhouse . The playhouse can readily be described in the very general categories of current theory because its function is rudimentary and evident in its form . It had ...
... establish the inherent symbolic values of the spaces defined by the playhouse . The playhouse can readily be described in the very general categories of current theory because its function is rudimentary and evident in its form . It had ...
Página 28
... established in subjective experience when a person exercises the " power of . . . withdrawing himself from the world and taking his stand inside himself . " 15 This admittedly impressionistic phenomenological view of the play- house ...
... established in subjective experience when a person exercises the " power of . . . withdrawing himself from the world and taking his stand inside himself . " 15 This admittedly impressionistic phenomenological view of the play- house ...
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