Community-making in early Stuart theatres : stage and audience
著者
書誌事項
Community-making in early Stuart theatres : stage and audience
, 2017
- : hbk
大学図書館所蔵 件 / 全1件
-
該当する所蔵館はありません
- すべての絞り込み条件を解除する
注記
Includes bibliographical references and index
収録内容
- Dramatic Censorship: Social Cohesion and Division / Richard Dutton
- What is an audience? / Stephen Orgel
- Lower-Class Theatre Communities under the Early Stuarts / Andrew Gurr
- The Professional and Linguistic Communities of Early Modern Dramatists / Anupam Basu, Jonathan Hope, and Michael Witmore
- Collaborative Playwrights and Community-Making / Suzanne Gossett
- For Love not Money: Community-making in Non-commercial Drama / Alison Findlay
- Disgust and Delight: Apollo Shroving, The Roaring Girl, and Community Theatre / Ros King
- Musical Community in Early Modern Theatre / David Lindley
- Honour Dishonoured: The Communicational Workings of Early Stuart Tragedy and Tragi-comedy / Roger D. Sell
- Community and Shakespearean Metonymy: Antony and Cleopatra / Ann Thompson and John O. Thompson
- The Communities of George Chapman's All Fools / Tom Rutter
- Ben Jonson: Madness and Community / Richard Harp
- Plotting, Ambiguity, and Community in the Plays of Beaumont and Fletcher / Lucy Munro
- Cary, Community, and Audience / Ramona Wray
- Rotting Together? The Quest for Community in Webster's Tragedies / Helen Wilcox
- Cut my heart in sums: Community-Making and Breaking in the Prodigal Drama of Thomas Middleton / Andrew Hiscock
- Massinger's Divided Communities / Martin Butler
- Antisocial Ford / Martin Wiggins
- Contingencies of Time and Place: A Contention for Honour and Riches, James Shirley, and the School Community / Anthony W. Johnson
内容説明・目次
内容説明
Twenty-two leading experts on early modern drama collaborate in this volume
to explore three closely interconnected research questions. To what extent did
playwrights represent dramatis personae in their entertainments as forming, or
failing to form, communal groupings? How far were theatrical productions likely
to weld, or separate, different communal groupings within their target audiences?
And how might such bondings or oppositions among spectators have tallied with
the community-making or -breaking on stage? Chapters in Part One respond to
one or more of these questions by reassessing general period trends in censorship,
theatre attendance, forms of patronage, playwrights' professional and linguistic
networks, their use of music, and their handling of ethical controversies.
In Part Two, responses arise from detailed re-examinations of particular plays
by Shakespeare, Chapman, Jonson, Beaumont and Fletcher, Cary, Webster, Middleton,
Massinger, Ford, and Shirley. Both Parts cover a full range of early-Stuart
theatre settings, from the public and popular to the more private circumstances
of hall playhouses, court masques, women's drama, country-house theatricals,
and school plays. And one overall finding is that, although playwrights frequently
staged or alluded to communal conflict, they seldom exacerbated such divisiveness
within their audience. Rather, they tended toward more tactful modes of
address (sometimes even acknowledging their own ideological uncertainties) so
that, at least for the duration of a play, their audiences could be a community
within which internal rifts were openly brought into dialogue.
目次
Table of Contents to come
「Nielsen BookData」 より