Download Free Shakespeare And The Theater Of Pity Book in PDF and EPUB Free Download. You can read online Shakespeare And The Theater Of Pity and write the review.

This volume explores Shakespeare’s interest in pity, an emotion that serves as an important catalyst for action within the plays, even as it generates one of the audience’s most common responses to tragic drama in the theater. For Shakespeare, the word "pity" contained a broader range of meaning than it does in modern English, and was often associated with ideas such as mercy, compassion, charity, pardon, and clemency. This cluster of ideas provides Shakespeare’s characters with a rich range of possibilities for engaging some of humanity’s deepest emotional commitments, in which pity can be seen as a powerful stimulus for fostering social harmony, love, and forgiveness. However, Shakespeare also dramatizes pity’s potential for deception, when the appeal to pity is not genuine, and conceals contrary motives of vengeance and cruelty. As Shakespeare’s works remain relevant for modern audiences and readers, so too does his dramatization of the powerful ways in which emotions such as pity remain essential to our understanding of our shared humanity and of our awareness of compassion’s role in our own private and civic lives.
Situated on the intersection of comparative literary criticism, political history and theory, and cultural analysis, Terror and Pity: Aleksandr Sumarokov and the Theater of Power in Elizabethan Russia offers an in-depth reading of early Russian tragedy as a political genre. Imported to Russia by Aleksandr Sumarokov around 1750, tragedy reenacted and shaped the symbolic economy and the often disturbing historical experience of "absolutist" autocracy. Addressing half-forgotten texts and events, this study engages with literary and cultural theory from Walter Benjamin to Foucault and "new historicism" in order to contribute to a broader discussion of early modern "poetics of culture."
The last decade has seen a revival of interest in John Ford and especially 'Tis Pity She's a Whore, his tragedy of religious scepticism, incestuous love, and revenge. This text in particular has provided a focus for scholarship as well as being the subject of a number of major theatrical productions. Simon Barker guides the reader through the full range of previous interpretations of the play; moving from an overview of traditional readings he goes on to enlarge upon new questions that have arisen as a consequence of critical and cultural theory.
Shakespeare’s Theater: A Sourcebook brings together in one volume the most significant Elizabethan and Jacobean texts on the morality of the theater. A collection of the most significant Elizabethan and Jacobean texts on the morality of the theater. Includes attacks on the stage by moralists, defences by actors and playwrights, letters by magistrates, mayors and aldermen of London, and extracts from legislation. Demonstrates just how heated debates about the theater became in the late sixteenth and early seventeenth centuries. A general introduction and short prefaces to each piece situate the writers and debates in the literary, social, political and religious history of the time. Brings together in one volume texts that would otherwise be hard to locate. Student-friendly - uses modern spelling and includes vocabulary glosses and annotation.
"Jay L. Halio is internationally distinguished as an editor of Shakespeare's plays and as a critic of Shakespeare in performance. This collection, with an international list of contributors, honors both those interests and explores their interconnectedness."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The first comprehensive history of libels in Elizabethan England, this interdisciplinary study traces the crime across law, literature, and culture, focusing especially on the theater. Ranging from Shakespeare to provincial pageantry, it provides a fresh account of early modern drama and the viral media ecosystem springing up around it.
This edited collection offers the first in-depth analysis and sourcebook for 'Lockdown Shakespeare'. It brings together scholars of stage, screen, early modern and adaptation studies to examine the work that emerged during the Covid-19 pandemic and considers issues of form, liveness, reception, presence and community. Interviews with theatre makers and artists illuminate the challenges and benefits of creating new work online, while educators consider how digital tools have facilitated the teaching of Shakespeare through performance. Together, the chapters in this book offer readers the definitive work on the performance and adaptation of Shakespeare online during the pandemic. From The Show Must Go Online, which presented Shakespeare's First Folio via YouTube, to Creation Theatre and Big Telly's interactive The Tempest and Macbeth, which used Zoom as their stage, the book documents the variety and richness of work that emerged during the pandemic. It reveals how, by taking Shakespeare online in new and innovative ways, the theatre industry sparked the evolution of new forms of performance with their own conventions, aesthetics and notions of liveness. Among the other productions discussed are Arden Theatre Company's A Midsummer Night's Dream, Tender Claws' 'The Under Presents: Tempest', The Shakespeare Ensemble's What You Will, Merced Shakespearefest's Ricardo II, CtrlAltRepeat's Midsummer Night Stream, Sally McLean's Shakespeare Republic: #AllTheWebsAStage (The Lockdown Chronicles) and Justina Taft Mattos's Moore – A Pacific Island Othello.
Playwrights throughout history have used the emotion of wonder to explore the relation between feeling and knowing in the theatre. In Shakespeare and the Theatre of Wonder, T. G. Bishop argues that wonder provides a turbulent space, rich at once in emotion and self-consciousness, where the nature and value of knowing is brought into question. Bishop compares the treatment of wonder in classical philosophy and drama, and goes on to examine English cycle-plays, charting wonder's ambivalent relation to dogma and sacrament in the medieval religious theatre. Through extended readings of three of Shakespeare's plays - The Comedy of Errors, Pericles and The Winter's Tale - Bishop argues that Shakespeare uses wonder as a key component of his dialectic between affirmation and critique. Wonder is shown as vital to the characteristic self-consciousness of Shakespeare's plays as acts of narrative enquiry and renovation.
William Shakespeare not only influenced the theatre of his contemporary age, but his influence on theatre comes down to our own age. His stagecraft, theatre architecture, and theatrical effects leave an indelible influence on Greek, Roman, Indian, Kabuki, and Western Theatre. This stagecraft of Shakespearean theatre helped the smooth and spontaneous flow of the action. This encompassed the human emotions and feelings. It proved purgative for the human heart. Shakespeare enlivened the printed page of the drama. The present work describes the comparative study of various theatre forms of East and West. Shakespeare successfully established a deep emotional relationship between the actors and the audience. The theatre became a passionate urge for the people with Shakespeare.