Talking to the Audience: Shakespeare, Performance, SelfRoutledge, 2004 M08 2 - 208 páginas This unique study investigates the ways in which the staging convention of direct address - talking to the audience - can construct selfhood, for Shakespeare's characters. By focusing specifically on the relationship between performer and audience, Talking to the Audience examines what happens when the audience are in the presence of a dramatic figure who knows they are there. It is a book concerned with theatrical illusion; with the pleasures and disturbances of seeing 'characters' produced in the moment of performance. Through analysis of contemporary productions Talking to the Audience serves to demonstrate how the study of recent performance helps us to understand both Shakespeare's cultural moment and our own. Its exploration of how theory and practice can inform each other make this essential reading for all those studying Shakespeare in either a literary or theatrical context. |
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Contenido
1 Actors Academics Selves | 1 |
Politics Performance | 25 |
3 The Point or the Question? Text Performance | 53 |
History Performance | 95 |
The Socìetas Raffaello Sanzio | 129 |
Conclusion | 151 |
Notes | 157 |
Productions Cited | 181 |
183 | |
197 | |
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Términos y frases comunes
Achilles actor Amleto Anthony Sher appears argue audience’s auditorium autistic body Bolingbroke Brecht Brook Brutus centre stage character Claudius clown coherent company’s conventions critical cultural direct address dramatic figure dramatic subjectivity early modern dramatic effect of subjectivity Elizabethan emotional encounter between performer foregrounded gesture Giulio Cesare Globe Greek Hamlet illusion Jeune Lune Julius Caesar king king’s Leontes lines London Lune’s madness Mark Antony meaning mise en scène modern drama Mowbray naturalistic notion offers one’s Ophelia Pandarus performance objective performer and audience performing human Peter Brook play play’s political Polonius Presence Chamber Prologue psychological Quarto questions reading recognise relationship reviewers Richard Richard II role Royal Shakespeare Royal Shakespeare Theatre RSC production RSC’s Rylance Rylance’s Samuel West scene self-contained sense Shakespeare production Sher shift Socìetas Raffaello Sanzio soliloquy space speaks spectator speech Stanislavski Steven Pimlott Stratford-upon-Avon suggests theatre theatrically conscious Thersites Tonti Troilus and Cressida Trojans voice vulnerable Weimann West’s