The Actor in History: A Study in Shakespearean Stage PoetryPennsylvania State University Press, 1988 - Всего страниц: 158 In this book an eminent scholar considers the relation which Shakespeare establishes between the values of the supreme world of Elizabethan and Jacobean reality, that of the kings and soldiers at the top of the tree, and his own domain, the poetry of the theater. Ostensibly, that poetry emphasizes straightforwardly the values of the plot of the play --by his poetry, the king or soldier becomes more visible to us. The rhythms of his voice, the verbal images and innuendos, reinforce the man's kingship or soldiership. But at other times, what takes place is different. Starting from a shadowy identification of the character with his position in the play, the poetry begins to substitute its independent or nearly independent values--its power to charm and to threaten and expand the "meaning" of the actor vis-à-vis his role. The character we watch on the stage escapes into an area where the sensations with which his acting affects us come also directly from his histrionic relation to us. He becomes an actor as such and less an actor of Brutus or Antony or Coriolanus. We are all the more moved because we know that the histrionic is a representation of the reality of emotion, as definite and valid as impressionism is of the visual truth of the external world. In certain plays Shakespeare puts at variance our sense of the histrionic against the more usual values which we set upon political and military achievement. The fantasy of Richard II, for example, is his escape from the harshness of the historical circumstances that belittle his capacity; clothed in poetry and growing into the actual presentation of the actor who rendered the part, it dominates us to the devaluing of the winner in the plot's competition. |
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... which can accommodate the scope of all the different styles as a dimension of life . The play also at least once explores with brutal shock the values of an independent theatricality — that is , the B The Henriad : Competitive Worlds 67.
... least , the play is perfectly clear that there is going to be no restoration of collective responsibility in Julius Caesar - only a question whether the party of the conspira- tors or the party of the Triumvirs will succeed the dead dic ...
... least ( the first three acts ) , and show up the stupidity and barbarity of what is happening to them . This stupidity and barbarity is connected with legal processes . It is the law , as it normally is seen in process . If one has a ...
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The Triumph of Fantasy | 13 |
The Actor in History | 37 |
Competitive Worlds | 61 |
Авторские права | |
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Ссылки на эту книгу
Greek and Roman Actors: Aspects of an Ancient Profession P. E. Easterling,Edith Hall Ограниченный просмотр - 2002 |
Shakespeare’s Imagined Persons: The Psychology of Role-Playing and Acting P. Murray Недоступно для просмотра - 1996 |