MARC record from Internet Archive

LEADER: 03493cam 2200541Ma 4500
001 ocn659234738
003 OCoLC
005 20220808005058.0
008 100818r20102008enk b 001 0 eng
040 $aUKM$beng$cUKM$dYDXCP$dOCLCF$dOCLCO$dOCLCQ$dOCL$dOCLCQ$dCSB$dUKMGB$dGDC$dOCLCO
015 $aGBB0A1226$2bnb
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020 $a9780521182836$q(pbk.)
020 $a0521182832$q(pbk.)
035 $a(OCoLC)659234738
050 4 $aPR2995$b.W45 2010
082 04 $a822.33$222
100 1 $aWeimann, Robert.
245 10 $aShakespeare and the power of performance :$bstage and page in the Elizabethan theatre /$cRobert Weimann and Douglas Bruster.
260 $aCambridge :$bCambridge University Press,$c2010.
300 $apages cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aOriginally published: 2008.
504 $aIncludes bibliographical references and index.
505 0 $a"Moralize two meanings" in one play : contrariety on the Tudor stage -- Performance, game, and representation in Richard III -- Mingling vice and "worthiness" in King John -- Clowning : agencies between voice and pen -- Clowning at the frontiers of representation -- Cross-dressing and performance in disguise -- Personation and playing : "secretly open" role-playing -- Character/actor : the deep matrix -- Character : depth, dialogue, page -- King Lear : representations on stage and page.
520 $aFocusing on the practical means and media of Shakespeare's stage, this study envisions horizons for his achievement in the theatre. Bridging the gap between today's page- and stage-centred interpretations, two renowned Shakespeareans demonstrate the artful means by which Shakespeare responded to the competing claims of acting and writing in the Elizabethan era. They examine how the playwright explored issues of performance through the resonant trio of clown, fool and cross-dressed boy actor. Like this trio, his deepest and most captivating characters often attain their power through the highly performative mode of 'personation' - through playing the character as an open secret. Surveying the whole of the playwright's career in the theatre, Shakespeare and the Power of Performance offers not only compelling ways of approaching the relation of performance and print in Shakespeare's works, but also new models for understanding dramatic character itself.
600 10 $aShakespeare, William,$d1564-1616$xTechnique.
600 10 $aShakespeare, William,$d1564-1616$xDramatic production.
600 10 $aShakespeare, William,$d1564-1616$xCharacters.
650 0 $aEnglish drama$y17th century$xHistory and criticism.
650 6 $aThéâtre anglais$y17e siècle$xHistoire et critique.
600 17 $aShakespeare, William,$d1564-1616.$2fast$0(OCoLC)fst00029048
650 7 $aCharacters and characteristics.$2fast$0(OCoLC)fst00852293
650 7 $aEnglish drama.$2fast$0(OCoLC)fst00910737
650 7 $aTechnique.$2fast$0(OCoLC)fst01355129
650 7 $aTheater.$2fast$0(OCoLC)fst01149217
648 7 $a1600-1699$2fast
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aBruster, Douglas.
938 $aYBP Library Services$bYANK$n3510505
029 1 $aAU@$b000058948368
029 1 $aNZ1$b13683396
029 1 $aUNITY$b12236483X
029 1 $aUKMGB$b015634552
994 $aZ0$bIME
948 $hNO HOLDINGS IN IME - 25 OTHER HOLDINGS