Subject to statutory exceptionand to the provisions of relevant collective licensing agreements,no reproduction of any part may take place withoutthe written permission of Cambridge University Press. Fathers and daughters - Drama. As you like it.
This page intentionally left blank Illustrations Figures 1. Without his urging, I would never have sought one more time to turn my ideas into a book, and he kindly read an early draft. I began exploring the ideas developed here in a dissertation written under the guidance of Joe Roach, with Leonard Barkan, Sandra Hindman, and Stephen Toulmin.
Howard Engelskirchen, Ruth Groff, and other members of the critical realism email discussion list debated some key issues with me.
My friendships with Susan Haedicke and E. Westlake have sustained me perhaps more than they know. I conducted some of my research and writing with the support of a fellowship from the American Council of Learned Societies, and a Fulbright lectureship at the University of Helsinki. I am deeply grateful to both organizations.
One of the advantages of critical realism is its commitment to fallibilism. Indeed, one of the few unshakable truths in human possession is that error is always possible. And this is a good thing: The errors in the following pages are mine alone; but at least my errors support part of my argument.
This book is written in memory of my parents, Gerhard and Arlynn. This page intentionally left blank Introduction Bad as it may sound, I have to admit that I cannot get along as an artist without the use of one or two sciences.
Classical Greeks and Romans built amphitheatres; in the Middle Ages theatre used various locus and platea arrangements, which were followed by a move indoors. The allegorical figures of medieval drama were replaced by the more person-like characters of the Renaissance.
House lights across Europe were darkened in the late nineteenth century, when they could just as well have stayed bright. The existence of long periods with little alteration is as interesting as the transformations. Depending on the account, the reason why a style alters at a specific time in a specific manner is either wholly arbitrary the whim of trendsetters or Poweror meets some sort of mechanistic law like the motions of a pendulum.
These are not ways to explain change, merely ways to explain it away.
Marxism explains this as changes in the dominant mode of production. Methodologically, that argument is promising, because it grounds the historical shifts in fundamental social relationships and material practices.
Morose's discomfort also recalls Volpone's reaction to Lady Would-Be's vaporous breath, suggesting that Jonson's prior associations between noise pollution and the potential exposure to plague can help us interpret the satiric function of Jonson's acoustic-oriented dramaturgy in Epicoene. Shakespeare, W - As You Like It (Cambridge, ) Home; Documents; Shakespeare, W - As You Like It (Cambridge, ). The Function of Metatheatricality in Epicoene and the Spanish Tragedy and Its Connections to Woman Breaking Social Conventions Within the Plays. Communication System of .
I argue that communication as an embodied activity generates the fundamental strategies of thought and performance underlying theatre and its historical transformations. I am referring to practices through which we produce meaning materially, in particular the social use and development of speech, handwriting, printing, and electronic media.
In order to make this argument I draw on the broader philosophy I alluded to, critical realism, which helps me place theatre firmly within its social and historical matrix.
But the analysis flows in several directions: Ultimately I posit a definition of theatre based not on formal grounds but on social ontology. Thus as the title of the first chapter puts it, this is a book about philosophy, history and theatre— not just yoked together, but intertwined.
This introduction will concentrate on the philosophies behind the theories of communication that have been adopted for the analysis of theatre and performance. Given the current upheaval in modes of communication, not surprisingly the topic has attracted broad interest. The study of print is becoming an established field in its own right.
Interest in the relationship between theatre and writing—in most cases, specifically printing—has begun to grow. With enormous, indeed humbling erudition, Peters pursues her topic in a variety of areas, such as issues of ownership, changes in the relative importance of voice and image, and the mutual reflection between staging and book illustration.
The chief contrast pertains to the issues of historiography I mentioned above. Peters describes the interactions between print and performance with rich detail, but other than establishing that their relationship is Introduction 3 an interaction rather than a one-way impact, she does not attempt to establish a larger case.
An example is her discussion of the tableaux, the painterly scenic descriptions, and the pictorial tropes in the productions and playtexts of the eighteenth century:Paired with other forms of violence, these wounding words produce catastrophic, near-apocalyptic destruction; the metatheatricality of these moments invites theatergoers to consider the risks of their own audition.
Hamlet showcases this trope while departing from it in significant ways. political function of drama , pre-Elizabethan performance in Epicoene , , ‘An Epistle to Master John Selden’ metatheatricality 80–1.
Linlithgow Palace 78, Lisle, Lady Honor Lisle letters Much has been written about hearing in Hamlet. Yet this work has overlooked a crucial aspect of the play's interest in audition—its intervention in a turn-of-the-century contest over how plays should sound, and how audiences should hear them.
Sir Philip Sidney had described the didactic function of pastoral which taught 'the misery of people under hard lords or ravening soldiers'. Yet he went on to expunge these radical implications by praising the 'blessedness derived to them that lie lowest from the goodness of them that sit highest'.4 1 of metatheatricality and the.
Shakespeare, W - As You Like It (Cambridge, ) Home; Documents; Shakespeare, W - As You Like It (Cambridge, ). The metatheatricality of Polonius' actions would only be compounded if, as is suspected, the actor playing Polonius had also played Ceasar in Shakespeare's roughly .