Shakespearean Tragedy and Its Double: The Rhythms of Audience ResponsePenn State Press, 1991 M08 5 - 300 páginas Why does Shakespearean tragedy continue to move spectators even though Elizabethan philosophical assumptions have faded from belief? Shakespearean Tragedy and Its Double seeks answers in the moment-by-moment dynamics of performance and response, and the Shakespearean text signals those possibilities. Shakespearean Tragedy and Its Double investigates the poetics of audience response. Approaching tragedy through the rhythms of spectatorial engagement and detachment ("aesthetic distance"), Kent Cartwright provides a performance-oriented and phenomenological perspective. Shakespearean Tragedy and Its Double analyzes the development of the tragic audience as it oscillates between engagement—an immersion in narrative, character, and physical action—and detachment—a consciousness of its own comparative judgments, its doubts, and of acting and theatricality. Cartwright contends that the spectator emerges as a character implied and acted upon by the play. He supports his theory with close readings of individual plays from the perspective of a particular element of spectatorial response: the carnivalesque qualities of Romeo and Juliet; the rhythm of similitude, displacement, and wonder in the audience's relationships to Hamlet; aesthetic distance as scenic structure in Othello; the influence of secondary characters and ensemble acting on the Quarto King Lear; and spectatorship as action itself in Antony and Cleopatra. Shakespearean Tragedy and Its Double treats the dramatic moment in Shakespearean tragedy as uncommonly charged, various, indeterminate, always negotiating unpredictably between the necessary and the spontaneous. Cartwright argues that, for the audience, the very dynamism of tragedy confers a certain enfranchisement, and the spectator's experience emerges as analogous to, though different from, that of the protagonist. Through its own engagement and detachments the audience becomes the final performer creating the play's meaning. |
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... perhaps makes a gesture like Olivier's when he rolls Desdemona's limp head from side to side. Finally, for the fourth time, Othello's attention reverts to Emilia (likely still pounding), but breaks focus sharply back to the body, with ...
... perhaps comic air, that is, a shift toward detachment. Such clear-cut deaths are by no means the rule in Shakespeare's tragedies. A play often teases the audience with doubt about whether the apparently dead really died, as with ...
... Perhaps more than any other writer, Michael Goldman has demonstrated the rewards of a performance-oriented criticism of Shakespeare.18 Goldman, arguing that in the theater we are principally aware of the actor's presence, has explored ...
Contenido
The Scenic Rhythms of Othello | |
Kent Edgar and the Situation of King Lear | |
The Audience In and Out of Antony and Cleopatra | |
Notes | |
Selected Bibliography | |
Index | |
Otras ediciones - Ver todas
Shakespearean Tragedy and Its Double: The Rhythms of Audience Response Kent Cartwright Vista previa limitada - 2010 |
Shakespearean Tragedy and Its Double: The Rhythms of Audience Response Kent Cartwright Vista previa limitada - 1991 |
Shakespearean Tragedy and Its Double: The Rhythms of Audience Response Kent Cartwright Vista de fragmentos - 1991 |