Download Free Humanism Drama And Performance Book in PDF and EPUB Free Download. You can read online Humanism Drama And Performance and write the review.

This book examines the appropriation of theatre and theatrical performance by ideologies of humanism, in terms that continue to echo across the related disciplines of literary, drama, theatre, and performance history and studies today. From Aristotle onward, theatre has been regulated by three strains of critical poiesis: the literary, segregating theatre and the practices of the spectacular from the humanizing work attributed to the book and to the internality of reading; the dramatic, approving the address of theatrical performance only to the extent that it instrumentalizes literary value; and the theatrical, assimilating performance to the conjunction of literary and liberal values. These values have been used to figure not only the work of theatre, but also the propriety of the audience as a figure for its socializing work, along a privileged dualism from the aestheticized ensemble—harmonizing actor, character, and spectator to the essentialized drama—to the politicized assembly, theatre understood as an agonistic gathering.
English drama at the beginning of the sixteenth century was allegorical, didactic and moralistic; but by the end of the century theatre was censured as emotional and even immoral. How could such a change occur? Kent Cartwright suggests that some theories of early Renaissance theatre - particularly the theory that Elizabethan plays are best seen in the tradition of morality drama - need to be reconsidered. He proposes instead that humanist drama of the sixteenth century is theatrically exciting - rather than literary, elitist and dull as it has often been seen - and socially significant, and he attempts to integrate popular and humanist values rather than setting them against each other. Taking as examples the plays of Marlowe, Heywood, Lyly and Greene, as well as many by lesser-known dramatists, the book demonstrates the contribution of humanist drama to the theatrical vitality of the sixteenth century.
- The decline and fall of the (American) Avant-Garde.- The natural/artifical controversy renewed.- The end of humanism.- The crash of performative circumstances, a modernist discourse on postmodernism.
Dramaturgies of Interweaving explores present-day dramaturgies that interweave performance cultures in the fields of theater, performance, dance, and other arts. Merging strategies of audience engagement originating in different cultures, dramaturgies of interweaving are creative methods of theater and art-making that seek to address audiences across cultures, making them uniquely suitable for shaping people’s experiences of our entangled world. Presenting in-depth case studies from across the globe, spanning Australia, China, Germany, India, Iran, Japan, Singapore, Taiwan, Vietnam, the US, and the UK, this book investigates how dramaturgies of interweaving are conceived, applied, and received today. Featuring critical analyses by scholars—as well as workshop reports and artworks by renowned artists—this book examines dramaturgies of interweaving from multiple locations and perspectives, thus revealing their distinct complexities and immense potential. Ideal for scholars, students, and practitioners of theater, performance, dramaturgy, and devising, Dramaturgies of Interweaving opens up an innovative perspective on today’s breathtaking plurality of dramaturgical practices of interweaving in theater, performance, dance, and other arts, such as curation and landscape design.
Contributors to this collection argue for the importance of academic drama as a site of cultural production in England from 1500 to 1700. They explore how these plays address various aspects of culture, including the relationship between the academy and the state, the tensions between humanism and religious reform, the social profits and economic liabilities of formal education, and the increasing involvement of universities in the commercial market, among other issues.
For both producers and consumers of theatre in the early modern era, art was viewed as a social rather than an individual activity. Emerging in the context of new capitalistic modes of production, the birth of the nation state and the rise of absolute monarchies, theatre also proved a highly mobile medium across geolinguistic boundaries. This volume provides a comprehensive and interdisciplinary overview of the cultural history of theatre from 1400 to 1650, and examines the socioeconomically heterodox nature of theatre and performance during this period. Highly illustrated with 48 images, the ten chapters each take a different theme as their focus: institutional frameworks; social functions; sexuality and gender; the environment of theatre; circulation; interpretations; communities of production; repertoire and genres; technologies of performance; and knowledge transmission.
Professor Jozef IJsewijn’s most relevant essays collected in one volume Jozef IJsewijn. Humanism in the Low Countries contains twenty-one essays written by the late Professor Jozef IJsewijn during the period 1966-1996. All essays were selected by his pupil Professor Gilbert Tournoy, who collaborated with him since the foundation of the Seminarium Philologiae Humanisticae in 1966 until his untimely death in 1998. They are now published in one volume in homage to the most brilliant scholar in the field of Neo-Latin Studies of the twentieth century. A number of contributions focus on the life and/or work of a single humanist from the Netherlands, others have a more general nature and deal with the very beginning and the later blossoming of Neo-Latin literature in the Low Countries or with the relationship between humanism in the Low Countries and in other European countries. Hidden in a less-known journal or a Festschrift for a colleague, these studies are nowadays not always easy to find. This volume brings the most relevant essays of IJsewijn together and aims to contribute to the research and study of humanism and Neo-Latin literature in the Low Countries.
Humanism is usually thought to come to England in the early sixteenth century. In this book, however, Daniel Wakelin uncovers the almost unknown influences of humanism on English literature in the preceding hundred years. He considers the humanist influences on the reception of some of Chaucer's work and on the work of important authors such as Lydgate, Bokenham, Caxton, and Medwall, and in many anonymous or forgotten translations, political treatises, and documents from the fifteenth and early sixteenth centuries. At the heart of his study is a consideration of William Worcester, the fifteenth-century scholar. Wakelin can trace the influence of humanism much earlier than was thought, because he examines evidence in manuscripts and early printed books of the English study and imitation of antiquity, in polemical marginalia on classical works, and in the ways in which people copied and shared classical works and translations. He also examines how various English works were shaped by such reading habits and, in turn, how those English works reshaped the reading habits of the wider community. Humanism thus, contrary to recent strictures against it, appears not as 'top-down' dissemination, but as a practical process of give-and-take between writers and readers. Humanism thus also prompts writers to imagine their potential readerships in ways which challenge them to re-imagine the political community and the intellectual freedom of the reader. Our views both of the fifteenth century and of humanist literature in English are transformed.
Referencing early modern English play texts alongside contemporary records, accounts and statutes, this study offers an overdue assessment of the relationship between the dramatic efforts of the universities and early modern male identity. Taking into account the near single-sex constitution of early modern universities, the book argues that performances of university plays, and student responses to them, were key ways of exploring and shaping early modern masculinity. Christopher Marlow shows how the plays dealt with their academic and social contexts, and analyses their responses to competing versions of masculinity. He also considers the implications of university authority and royal patronage for scholarly performances of masculinity; the effect of the literary traditions of classical friendship and platonic love on academic representations of male behaviour; and the relationship between university drama and masculine initiation rituals. Including discussion of the Parnassus trilogy, Club Law and works by Thomas Randolph, William Cartwright, John Milton and others, this study shines new light on long neglected aspects of the golden age of English drama.
Performing Arguments: Debate in Early English Poetry and Drama proposes a fresh performance-centered view of rhetoric by recovering, tracing, and analyzing the trope and tradition of aestheticized argumentation as a mode of performance across several early ludic genres: Middle English debate poetry, the fifteenth-century ‘disguising’ play, the Tudor Humanist debate interlude, and four Shakespearean works in which the dynamics of debate invite the plays’ reconsideration under the new rubric of ‘rhetorical problem plays.’ Performing Arguments further establishes a distinction between instrumental argumentation, through which an arguer seeks to persuade an opponent or audience, and performative argumentation, through which the arguer provides an aesthetic display of verbal or intellectual skill with persuasion being of secondary concern, or of no concern at all. This study also examines rhetorical and performance theories and practices contemporary with the early texts and genres explored, and is further influenced by more recent critical perspectives on resonance and reception and theories of audience response and reconstruction.