Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
William Shakespeare: A Brief Life
This engaging and fresh biography begins by examining how Shakespeare's life turns into myth so comfortably as to seduce even the most sceptical scholar. The early departure, the late return. Public success, private loss. A twilight of plays about family reunions, a death at home in the biggest house in town, the one he walked by as a schoolboy and eyed with envy, or at least ambition. Shakespeare led an orbital life, everything returned to where it began. He even had the dramatic good sense to die on his birthday. One of the appealing dynamics of the Shakespeare myth is the contrast of his humble beginnings and his lofty achievements, persuading us that genius might blossom anywhere. William Shakespeare: A Brief Life honours these myths, but also explores some of the mysteries: why Shakespeare left Stratford, who he ran with in London, why he put down his pen and at last came home again. Ultimately, the book explores the compelling contrast between the mere fifty two years Shakespeare lived, with the prolonged after lives of his work and his story, which show no sign of ending.
The Hamlets
"While differences among the three early texts of Hamlet have been considered in terms of interpretive consequences, The Hamlets instead considers practical issues in the playhouses of early modern London. It examines how Shakespeare's company operated, how they may have treated the authorial text, what the actor's needs might have been, and how the three texts may be manifestations of the play's life in the theater. By studying cue-line variation in the three texts, the book introduces a unique method of analysis and constructs for Hamlet a new narrative of authorial, textual, and playhouse practices that challenges the customary assumptions about the transmission of Shakespeare's most textually troubling play."--BOOK JACKET.
Shakespeare without Print
Everything we know about Shakespeare – his world, his words, his work – is preconceived by print. This knowledge extends to cultural expressions that seek to evade ink, paper, and moveable type, such as performance, such as acting. Print privileges qualities quite alien to performance, however: standardization, reproducibility, and, above all, uniformity. Thus the master tropes of print occlude rather than clarify our thinking about acting. How might we think about Shakespeare and performance without print? Examining texts both early and modern, Shakespeare without Print contends that Shakespeare and performance has long been dominated by a medium alien to its expression, print, a foreign government that forecloses alternative conceptualizations and practices. Through a series of discrete but linked excursions into the relationship between Shakespearean print and Shakespearean performance, this Element auditions alternative prepositions to enfranchise scholars and practitioners from print, which currently binds and determines our various approaches to Shakespearean performance.
Anecdotal Shakespeare
Shakespeare's four-hundred-year performance history is full of anecdotes – ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact. Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes – stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar – and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.
Shakespeare in the Theatre: The American Shakespeare Center
The original Blackfriars closed its doors in the 1640s, ending over half-a-century of performances by men and boys. In 2001, in the Shenandoah Valley of Virginia, it opened once again. The reconstructed Blackfriars, home to the American Shakespeare Center, represents an old playhouse for the new millennium and therefore symbolically registers the permanent revolution in the performance of Shakespeare. Time and again, the industry refreshes its practices by rediscovering its own history. This book assesses how one American company has capitalised on history and in so doing has forged one of its own to become a major influence in contemporary Shakespearean theatre.
Renaissance Drama 35
Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theatre, and performance. This special issue of Renaissance Drama "Embodiment and Environment in Early Modern Drama and Performance" is guest-edited by Mary Floyd-Wilson and Garrett A. Sullivan, Jr. Anatomized, fragmented, and embarrassed, the body has long been fruitful ground for scholars of early modern literature and culture. Th...
Inside Shakespeare
This collection of essays addresses questions peculiar to the Blackfriars and indoor playing: Did the Blackfriars have its own repertory? What was the place of the Blackfriars in the urban economy? What qualities did the Blackfriars share with the long tradition of great-hall performances? The essays span a range of approaches from performative to historical to textual.--Publisher's description.
Doctor Faustus
In Christopher Marlowe's Doctor Faustus a distinguished scholar turns away from learning and embraces necromancy to satisfy his yearning for knowledge, power and influence. Faustus trades his soul to Lucifer for the secrets of the universe, only to find that satisfaction remains beyond his grasp. His quest for fame and thirst for knowledge eventually results in his damnation. One of the most spectacular and popular plays of the Elizabethan stage, Faustus' fantastical mix of high-minded theology and low-brow slapstick has allured generations of readers and playgoers in the ensuing centuries. Christopher Marlowe's Faustus has been regularly rewritten, adapted, performed, and parodied across th...
Kant's Impure Ethics
The second part of Kant's ethics was described by Kant as applied moral philosophy or ethics applied to the human being. Kant's Impure Ethics critically examines this second part and assesses its value and nature in great detail.
Shakespeare in the Light
Shakespeare in the Light convenes an accomplished group of scholars, actors, and teachers to celebrate the legacy of American Shakespeare Center’s founder, Ralph Alan Cohen. Each essay pivots off a production at the ASC’s Blackfriars Playhouse to explore the performance of Shakespeare’s plays under their original theatrical conditions.
