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 77
... Malevole connection is as an early example of Stanislavskian acting : Altofront uses Malevole as a way of expressing his real bitterness and frustration as a deposed ruler . Yet there is also a contradiction between the roles . Malevole ...
... Malevole connection is as an early example of Stanislavskian acting : Altofront uses Malevole as a way of expressing his real bitterness and frustration as a deposed ruler . Yet there is also a contradiction between the roles . Malevole ...
Sida 78
... Malevole , and control the irony in the latter's role ; it is less clear that he realizes the restriction on his free speech as a satirist . Altofront , his ' real ' identity , never comes into focus as sharply as Malevole does ...
... Malevole , and control the irony in the latter's role ; it is less clear that he realizes the restriction on his free speech as a satirist . Altofront , his ' real ' identity , never comes into focus as sharply as Malevole does ...
Sida 84
... Malevole . Lightning and thunder ! Pietro . Vengeance and torture ! Malevole . Catso ! Pietro . O , revenge ! ( 1.3.101-7 ) Imagining this in what Marston calls ' the soul of lively action ' ( ' To the Reader ' , 36–7 ) , it is ...
... Malevole . Lightning and thunder ! Pietro . Vengeance and torture ! Malevole . Catso ! Pietro . O , revenge ! ( 1.3.101-7 ) Imagining this in what Marston calls ' the soul of lively action ' ( ' To the Reader ' , 36–7 ) , it is ...
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Lyly Endymion | 19 |
Greene Friar Bacon and Friar Bungay | 30 |
Shakespeare A Midsummer Nights Dream | 61 |
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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
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Richard Brome: Place and Politics on the Caroline Stage Matthew Steggle Fragmentarisk förhandsgranskning - 2004 |