By Barbara Hodgdon, W. B. Worthen
ISBN-10: 1405111046
ISBN-13: 9781405111041
ISBN-10: 1405150238
ISBN-13: 9781405150231
ISBN-10: 1405188219
ISBN-13: 9781405188210
A better half to Shakespeare and function offers a state of the art engagement with the swiftly constructing box of Shakespeare functionality stories.
- Redraws the limits of Shakespeare functionality reports.
- Considers functionality in quite a number media, together with in print, within the lecture room, within the theatre, in movie, on tv and video, in multimedia and electronic varieties.
- Introduces very important phrases and modern parts of enquiry in Shakespeare and function.
- Raises questions about the dynamic interaction among Shakespearean writing and the practices of up to date functionality and function experiences.
- Written by way of a world crew of significant students, academics, theatre makers.
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Extra resources for A Companion to Shakespeare and Performance
Sample text
Know that we have divided In three our kingdom; and ’tis our fast intent To shake all cares and business from our age, Conferring them on younger strengths, while we Unburden’d crawl toward death. 36–40) Lear’s desire for self-erasure expresses itself as a desire to shake off the cares and obligations he has to both his kingdom and his kin. His first two daughters, who are already married and have already received their inheritance, respond to Lear’s empty ceremony by stuffing that emptiness with words, elaborate promises, and other highly inflated rhetoric.
His first two daughters, who are already married and have already received their inheritance, respond to Lear’s empty ceremony by stuffing that emptiness with words, elaborate promises, and other highly inflated rhetoric. Much of their rhetoric recalls the kind of language Queen Elizabeth perfected, a language that joins the personal and the political. In her ‘‘Golden Speech’’ of 30 November 1601, Elizabeth proclaimed: There is no jewel, be it of never so rich a price, which I set before this jewel; I mean your love .
This is the design principle that organizes the structure of the Elizabethan playhouses, from the tiring rooms to the inner closets, and this is also the structural principle of the unconscious. Sometimes we learn that there are secrets too intimate to share with our intimates, even with ourselves. Part of theatrical architecture’s contribution to ‘‘the secret psychological life’’ has to do with the way it returns us to the same set/ting, even while it shows us different scenes in the same space.