Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century—a period when ...for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience. Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period.
El volumen (publicado tambien con acceso libre en internet, https://digitalisdsp.uc.pt/bitstream/10316.2/44015/1/Irreligiosidad.pdf) se abre con un prologo en ingles de M. Domingo Gygax ...("Irreligiosity in Fifth-Century Athens", pp. 11-14) que sirve de presentacion y ubica los problemas fundamentales de concepto y metodo que presenta el abordaje de un tema capital en la evolución del pensamiento y las ideas de la Atenas clasica. El autor destaca cómo la ciudad intervino en los debates religiosos mientras que, de otro lado, en la cultura helenica no existia una imposición de una ortodoxia religiosa que provocase una reacción; en todo caso, por ello mismo el fenómeno pudo ser menos visible, y al mismo tiempo mas enconado en Atenas, donde mas textos estaban en circulación. A continuación, Ramón Palerm revisa en la sección siguiente ("Comedia", pp. 154-205) los loci de la obra aristofánica con escenas relativas a la divinidad (Sócrates y la impiedad; la intervención en la guerra; las nuevas condiciones económicas, etc.). Por ultimo, F. Frazier ("Regards Grecs sur L'Athenes du Vе siecle et 'L' irreligion' de Platon a Plutarque", pp. 295-357) constituye un ensayo a modo de epílogo que comienza planteando la dimensión cívica o política de la religión griega, dimensión cruzada por la dicotomía entre el pensamiento sobre el hecho religioso y los actos determinados que concretizan el mismo, todo lo cual va a determinar el tratamiento de las cuestiones de irreligiosidad.
Pathos in Late-Medieval Religious Drama and Art explores the connections between the language of European late-medieval drama and co-temporary themes and motifs in visual communication, focussing on ...the triggering of emotional reactions in the viewers as a persuasive device.
As well as 'play-makers' and 'poets', playwrights of the early modern period were known as 'play-patchers' because their texts were made from separate documents. This book is the first to consider ...all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls, backstage-plots and parts, it shows how textually distinct production was from any single unified book. And, as performance documents were easily lost, relegated or reused, the story of a play's patchy creation also becomes the story of its co-authorship, cuts, revisions and additions. Using a large body of fresh evidence, Documents of Performance in Early Modern England brings a wholly new reading to printed and manuscript playbooks of the Shakespearean period, redefining what a play, and what a playwright, actually is.
Breaking new ground in the study of tragedy, early modern theatre, and literary London,Metropolitan Tragedydemonstrates that early modern tragedy emerged from the juncture of radical changes in ...London's urban fabric and the city's judicial procedures. Marissa Greenberg argues that plays by Shakespeare, Milton, Massinger, and others rework classical conventions to represent the city as a locus of suffering and loss while they reflect on actual sources of injustice in sixteenth- and seventeenth-century London: structural upheaval, imperial ambition, and political tyranny.
Drawing on a rich archive of printed and manuscript sources, including numerous images of England's capital, Greenberg reveals the competing ideas about the metropolis that mediated responses to theatrical tragedy. The first study of early modern tragedy as an urban genre,Metropolitan Tragedyadvances our understanding of the intersections between genre and history.
Hopkins argues the succession to the throne was a burning topic not only in the final years of Elizabeth but well into the 1630s, and drama, with its disguised identities and oblique relationship to ...reality, was a safe way to air it. Hopkins analyzes some of the ways in which plays-from Marlowe's and Shakespeare's to Webster's and Ford's-reflect, negotiate and dream the issue of the succession.
This book examines the theater of narration, an Italian performance
genre and aesthetic that revisits historical events of national
importance from local perspectives, drawing on the rich
...relationship between personal experiences and historical accounts.
Incorporating original research from the private archives of
leading narrators-artists who write and perform their work-Juliet
Guzzetta argues that the practice teaches audiences how ordinary
people aren't simply witnesses to history but participants in its
creation. The theater of narration emerged in Italy during the
labor and student protests, domestic terrorism, and social progress
of the 1970s. Developing Dario Fo and Franca Rame's style of
political theater, influenced by Jerzy Grotowski and Bertolt
Brecht, and following in the freewheeling actor-author traditions
of the commedia dell'arte, narrators created a new form of popular
theater that grew in prominence in the 1990s and continues to gain
recognition. Guzzetta traces the history of the theater of
narration, contextualizing its origins-both political and
intellectual-and centers the contributions of Teatro Settimo, a
performance group overlooked in previous studies. She also examines
the genre's experiments in television and media. The first
full-length book in English on the subject, The Theater of
Narration leverages close readings and a wealth of primary
sources to examine the techniques used by narrators to remake
history-a process that reveals the ways in which history itself is
a theater of narration.
Through a series of interdisciplinary studies this book argues that the Athenians themselves invented the notion of 'classical' tragedy just a few generations after the city's defeat in the ...Peloponnesian War. In the third quarter of the fourth century BC, and specifically during the 'Lycurgan Era' (338–322 BC), a number of measures were taken in Athens to affirm to the Greek world that the achievement of tragedy was owed to the unique character of the city. By means of rhetoric, architecture, inscriptions, statues, archives and even legislation, the 'classical' tragedians (Aeschylus, Sophocles and Euripides) and their plays came to be presented as both the products and vital embodiments of an idealised Athenian past. This study marks the first account of Athens' invention of its own theatrical heritage and sheds new light upon the interaction between the city's literary and political history.
