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Shakespeare and the Spectacles of Strangeness pays close attention to genre, structure and issues of printing and textual scholarship. Demaray examines the First Folio printings of The Tempest and of printings of drama, masques, balets de cour, spectacle productions and stage documents. On the basis of these primary documents, Demaray is able to show the influence of the conventions of court presentations on Shakespeare's theatrical references, and to reveal new accounts of the imaginative significance of stage illusions designed by Inigo Jones in the early 1600s.
Shakespeare and the Spectacles of Strangeness pays close attention to genre, structure and issues of printing and textual scholarship. Demaray examines the First Folio printings of The Tempest and of printings of drama, masques, balets de cour, spectacle productions and stage documents. On the basis of these primary documents, Demaray is able to show the influence of the conventions of court presentations on Shakespeare's theatrical references, and to reveal new accounts of the imaginative significance of stage illusions designed by Inigo Jones in the early 1600s.
A casebook of the ways the Shakespeare play has been reinterpreted time and time again.
Selected by Choice magazine as an Outstanding Academic Title Bartels focuses on Marlowe's preoccupation with "strangers" and "strange" lands, and his use—and subversion—of Elizabethan stereotypes. Setting Marlovian drama in the context of England's nascent imperialism, Bartels probes the significance of the alien as the vital presence on the Renaissance stage and within Renaissance society.
The Staging of Witchcraft and a Spectacle of Strangeness: Witchcraft at Court and the Globe presents a new interest in Continental texts on witchcraft coincided with technological advances in the English stage, which made a variety of dramatic effects possible in the private playhouses, such as flying witches, and the appearance of spirits and deities in Elizabethan plays. This book also evaluates how the technology of the Blackfriars playhouse facilitated the appearance of spirits, devils, witches, magicians, deities and dragons on stage. The study investigates the visual spectacle of witchcraft scenes which intersect with the genre of the plays, and it also presents to what extent changing theatrical tastes affect the way that supernatural characters are shown on stage.
Examining how technological developments in performance practices affect spectator experience of Shakespeare and early modern drama.
The Visual Spectacle of Witchcraft in Jacobean Plays: Blackfriars Theatre is an ideal reference for early modern scholars and lecturers who seek a thorough and practical guide to stage directions in print and performance, and paying particular attention to the early texts as evidence of performance practice. Stage directions here are re-thought in the light of early theatre practice, and the issues of stage directions as evidence of performance practice and later interpolations, in association with witchcraft, of several Jacobean plays can be found in this book. This book includes a general introduction to Blackfriars witchcraft plays and the Jacobean theatre, a chronology, suggestions for further reading and discussing performance options on both indoor and outdoor playhouses, and a commentary. The illuminating and informative general introduction and the short introductions to individual plays have been revised in the light of current scholarship.
In this study of Shakespeare's visual culture Frederick Kiefer looks at the personified characters created by Shakespeare in his plays, his walking, talking abstractions. These include Rumour in 2 Henry IV, Time in The Winter's Tale, Spring and Winter in Love's Labour's Lost, Revenge in Titus Andronicus, and the deities in the late plays. All these personae take physical form on the stage: the actors performing the roles wear distinctive attire and carry appropriate props. The book seeks to reconstruct the appearance of Shakespeare's personified characters; to explain the symbolism of their costumes and props; and to assess the significance of these symbolic characters for the plays in which they appear. To accomplish this reconstruction, Kiefer brings together a wealth of visual and literary evidence including engravings, woodcuts, paintings, drawings, tapestries, emblems, civic pageants, masques, poetry and plays. The book contains over forty illustrations of personified characters in Shakespeare's time.
Callan Davies presents “strangeness” as a fresh critical paradigm for understanding the construction and performance of Jacobean drama—one that would have been deeply familiar to its playwrights and early audiences. This study brings together cultural analysis, philosophical enquiry, and the history of staged special effects to examine how preoccupation with the strange unites the verbal, visual, and philosophical elements of performance in works by Marston, Shakespeare, Middleton, Dekker, Heywood, and Beaumont and Fletcher. Strangeness in Jacobean Drama therefore offers an alternative model for understanding this important period of English dramatic history that moves beyond categories such as “Shakespeare’s late plays,” “tragicomedy,” or the home of cynical and bloodthirsty tragedies. This book will be of great interest to students and scholars of early modern drama and philosophy, rhetorical studies, and the history of science and technology.
The first comprehensive history of Byzantine warfare in the tenth century.