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. |
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... withdrawing temporarily from ordinary life to enter the second world defined by the playhouse . This pattern of withdrawal and return shapes both the definition of setting and the de- velopment of character and brings them together as ...
... withdrawing temporarily from ordinary life to enter the second world defined by the playhouse . This pattern of withdrawal and return shapes both the definition of setting and the de- velopment of character and brings them together as ...
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... withdrawal and return . These three levels , though distinct , are analogous and reinforce one another , so that the theatrical occasion is deeply implicated in the imaginary world of the play . Thus , for example , the characters ...
... withdrawal and return . These three levels , though distinct , are analogous and reinforce one another , so that the theatrical occasion is deeply implicated in the imaginary world of the play . Thus , for example , the characters ...
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... withdrawal and return have their physical founda- tion in spatial relations defined by the playhouse . Rudolf Arnheim , in The Dynamics of Architectural Form , shows that " the design of a building is the spatial organization of ...
... withdrawal and return have their physical founda- tion in spatial relations defined by the playhouse . Rudolf Arnheim , in The Dynamics of Architectural Form , shows that " the design of a building is the spatial organization of ...
Página 28
... withdrawing himself from the world and taking his stand inside himself . " 15 This admittedly impressionistic phenomenological view of the play- house brings together , and is in turn substantiated by , more familiar findings of ...
... withdrawing himself from the world and taking his stand inside himself . " 15 This admittedly impressionistic phenomenological view of the play- house brings together , and is in turn substantiated by , more familiar findings of ...
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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