Each relates Shakespearean developments to broader cultural concerns and adopts an individual approach and focus, on textual adaptation, acting, stages, scenery or theatre management. These are followed by three explorations of acting: tragic and comic actors and women performers of Shakespeare roles.
The Cambridge Companion to Shakespearean Comedy by Alexander Leggatt, Paperback | Barnes & Noble®
A section on international performance includes chapters on interculturalism, on touring companies and on political theatre, with separate accounts of the performing traditions of North America, Asia and Africa. Over forty pictures illustrate peformers and productions of Shakespeare from around the world. An amalgamated list of items for further reading completes the book. Seller Inventory LHB Book Description Cambridge Univ Pr, Condition: Brand New.
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Synopsis About this title This Companion is designed for readers interested in past and present productions of the plays and to accompany the increasing number of courses devoted to the history of Shakespeare in performance. Book Description : This Companion is designed for readers interested in past and present productions of the plays and to accompany the increasing number of courses devoted to the history of Shakespeare in performance.
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Buy New View Book. Other Popular Editions of the Same Title. Search for all books with this author and title. The imitation of the style ofclassical authors became a central aim. Comedy, and particularly the plays of Terence, played an important rolein the school curriculum.
The Cambridge Companion to Shakespearean Tragedy (Cambridge Companions to Literature)
He is pure, concise, and closest to everyday speechand then, by the very nature of his subject-matter, is also congenial to theyoung. Comedy, especially the plays ofTerence, simultaneously illustrates and validates these principles. This defence of poetry,which incorporates ideas from a wide variety of classical, early Christian,and contemporary sources, is followed by a brief account of the history oftragedy and comedy based, in its essentials, on the essays of Donatus and Eu-anthius.
These sources also provide Badius with the material for his accountof the structure of comedy. Like Erasmus, he is particularly concerned withthe issue of decorum, for which he elaborates principles governing charac-ters, things, words, and the totality of the artistic work. Tobe sure, the text had not been lost entirely to Western scholars during the me-dieval period.
It survived in paraphrases and commentaries, most notablyby the twelfth-century Arab philosopher Averroes Ibn Rushd. It was included, however, in a collection of Greekrhetorical texts which Aldus printed in Until mid-century, however, itsimpact was relatively slight. Comic plots are distinguished fromtragic plots by their matter. But they are subject to analogous rules of con-struction: The plot ought not to be episodic, for such a plot is faulty.
I call that plot episodic in which many things are inserted over and above the one action that was set up in the beginning. Theories of comedyand the new: the Aristotelian emphasis on the primacy of plot coexists withan account of comic character that incorporates many ideas from the earliertradition of Terentian commentary.
But simply to dismiss the relevance of this theoreticaltradition would be too hasty. Or recall Castelvetro on the Theories of comedysources of laughter.
Any assessment of his relationshipto early theories of comedy must come to terms with both aspects of thisrelationship. Sutton and H. Rackham, 2 vols. Cambridge, Mass. Blakemore Evans et al. All subsequent quotations from Shakespeare will be taken from this edition. Urbana: University of Illinois Press, For an account of classical medical theory, emphasizing its relevance to Shakespeare, see F.
All subse- quent quotations from Aristotle will be taken from this edition. Ruth Calder and M. Screech Geneva: Librairie Droz, , p. Screech and Ruth Levi Manchester: Manchester University Press, , pp. All subsequent quotations from Plato will be taken from this edition. Russell, Criticism in Antiquity London: Duckworth, , pp.
Hardison, Jr. New York: Frederick Ungar Publishing, , pp. Fairclough Cambridge, Mass. Herrick, Comic Theory in the Sixteenth Century ; reprinted Urbana: University of Illinois Press, for a detailed account of the Terentian tradition in the sixteenth century. Huguetan, Maurice Lebel Louvain: Peeters, , pp. In the absence of a modern edition, I refer to this source.
Sixteenth-century folio editions of Terence typically con- tained an extensive apparatus including the essays by Donatus and Euanthius, the short biography of Terence by Donatus and his annotations to the comedies. Glyn P. Norton Cambridge: Cambridge University Press, Chicago: University of Chicago Press, , i, — Excerpts from some of the most important primary sources can be found in translation in Allen H.
Some important aspects of Renaissance genre theory are discussed in Rosalie L. Lewlaski ed.
Albert Rabil, Jr. Philadelphia: University of Pennsylvania Press, , iii, 85— Munich: Wilhelm Fink Verlag, I quote from this source. The essays are also discussed in Weinberg, History of Literary Criticism, i, — See Castelvetro on the Art of Poetry, p. Richard H. Herford and Percy and Evelyn Simpson, 11 vols.