Introduction to English Renaissance ComedyManchester University Press, 1999 - 186 sidor This guide provides a comprehensive introduction to Elizabethan, Jacobean and Caroline comedy, covering both public and private theatres, encompassing the eclective, experimental nature of this comedy: its departures from the mainstream New Comedy tradition and its searching, witty analysis of social and personal relations in court, city and country. This book, an analysis of some of the richest comedies of the periods, makes sometimes inexpected connection between them: Shakespeare's A Midsummer Night's Dream and The Tempest, Lyly's Endymion, Greene's Friar Bacon and Friar Bungay, Marston's The Malcontent, Middleton's Michaelmas Term, Jonson's Bartholemew Fair, Shirley's The Lady of Pleasure and Brome's A Jovial Crew. Through these plays the reader is given a picture of English comedy in one of its most creative periods. |
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Sida 118
... Ariel is his personal servant , who works with him in the house , and with whom he develops a close relationship ; the spirits are the field hands . In his final song , Ariel gives a brief glimpse of his independent life in his own ...
... Ariel is his personal servant , who works with him in the house , and with whom he develops a close relationship ; the spirits are the field hands . In his final song , Ariel gives a brief glimpse of his independent life in his own ...
Sida 119
... Ariel , as though she is not allowed to watch the magician at work . It is striking that Miranda and Ariel , the two characters with whom Prospero has the closest relationships , have no relationship with each other . Ariel never refers ...
... Ariel , as though she is not allowed to watch the magician at work . It is striking that Miranda and Ariel , the two characters with whom Prospero has the closest relationships , have no relationship with each other . Ariel never refers ...
Sida 133
... Ariel neither hears nor obeys the last command . We have to take over . 13 This paradox was captured in Giorgio Strehler's production for the Piccolo Teatro di Milano ( revised 1977 ) . Ariel ( played in this case by a woman ) was in a ...
... Ariel neither hears nor obeys the last command . We have to take over . 13 This paradox was captured in Giorgio Strehler's production for the Piccolo Teatro di Milano ( revised 1977 ) . Ariel ( played in this case by a woman ) was in a ...
Innehåll
Lyly Endymion | 19 |
Greene Friar Bacon and Friar Bungay | 30 |
Shakespeare A Midsummer Nights Dream | 61 |
Upphovsrätt | |
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action actors Altofront appears Aretina Ariel audience authority Bacon Bartholomew Fair becomes beggars beginning brazen head Caliban calls centre characters claims comedy comes court created Cynthia death describes Dream Easy effect Elizabeth Elizabethan Endymion England English Fair feel figure final freedom Friar Friar Bacon gives identity imagine island John Jonson keep King lady land language later leave live London look lord lovers magic Malcontent Malevole Margaret masque matter means Miranda nature never notes offers Overdo performance Pietro Plautus play play's pleasure political Prospero puts Queen question Quomodo recalls references relationship Renaissance role scene seems sense Shakespeare simply sleep social society speech spirits stage story suggests tells Tempest Term theatre thee Theseus thing thou tradition turn wants watch women
Hänvisningar till den här boken
Richard Brome: Place and Politics on the Caroline Stage Matthew Steggle Fragmentarisk förhandsgranskning - 2004 |