Description. In this engaging text, Arthur Kinney introduces students to Shakespeare's plays in the context of Elizabethan and Jacobean theater. Introduces.
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- Shakespeare's Theater
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- Shakespeare by Stages: An Historical Introduction - Arthur F. Kinney - Google Книги
Examining such sociohistorical factors as the roles of women and common men and the conditions of theatrical performance, Rackin explores what happened when elite historical discourse was trans porteto the public commercial theater.
Shakespeare's Theater
She argues that Shakespeare's chronicles transformed univocal historical writing into polyphonic theatrical scripts that expressed the contradictions of Elizabethan culture. Phyllis Rackin offers a fresh approach to Shakespeares English history plays, rereading them in the context of a world were rapid cultural change transforms historical consciousness and gave the study of history a new urgency. Would you like to tell us about a lower price?
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Page 1 of 1 Start over Page 1 of 1. How Shakespeare Put Politics on the Stage: Power and Succession in the History Plays. Review "It will be the book on Shakespeare's histories for some time to come. Braunmuller, University of California, Los Angeles "Her work on the political consequences of how women and the lower classes are represented within the Renaissance history play is brilliant, as is her examination of how the material practices of the state disrupt 'official' history. In Shakespeare's time, a stage wasn't just one type of space; plays had to be versatile.
The same play might be produced in an outdoor playhouse, an indoor theater, a royal palace—or, for a company on tour, the courtyard of an inn.
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In any of these settings, men and boys played all the characters, male and female; acting in Renaissance England was an exclusively male profession. Audiences had their favorite performers, looked forward to hearing music with the productions, and relished the luxurious costumes of the leading characters.
The stage itself was relatively bare. For the most part, playwrights used vivid words instead of scenery to picture the scene onstage. The Theatre was among the first playhouses in England since Roman times.
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Like the many other playhouses that followed, it was a multi-sided structure with a central, uncovered "yard" surrounded by three tiers of covered seating and a bare, raised stage at one end of the yard. Spectators could pay for seating at multiple price levels; those with the cheapest tickets simply stood for the length of the plays.
Shakespeare's company, the Lord Chamberlain's Men, was one of several to perform at the Theatre, appearing there by about A few years later, the Burbages lost their lease on the Theatre site and began construction of a new, larger playhouse, the Globe, just south of the Thames. To pay for it, they shared the lease with the five partners called actor-sharers in the Lord Chamberlain's company, including Shakespeare.
The Globe, which opened in , became the playhouse where audiences first saw some of Shakespeare's best-known plays. A new, second Globe was quickly built on the same site, opening in Large open playhouses like the Globe are marvelous in the right weather, but indoor theaters can operate year-round, out of the sun, wind, and rain. And in particular, about the modes and media through which contemporaries thought collectively and in public about some of the most pressing and taboo subjects of the day.
In other words, by the stuff upon which a certain sort of historical research, that is to say my sort of historical research, conventionally rests.
Shakespeare by Stages: An Historical Introduction - Arthur F. Kinney - Google Книги
However, as I got further into both the plays, and indeed into the pamphlets, it became obvious not only that these materials could not successfully be combined within the confines of one book, but also that to deal adequately with the plays would involve an engagement with a whole range of other literary and theatrical issues. And so reluctantly, and by the back door, I came to write a book about Shakespeare. Peter Lake is university distinguished professor of history, professor of the history of Christianity, and Martha Rivers Ingram Chair of History at Vanderbilt University.
He divides his time between Nashville, TN, and London.
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