How plays work: reading and performance
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford [u.a.]
Oxford Univ. Press
2007
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Table of contents only Inhaltsverzeichnis Klappentext |
| Beschreibung: | Includes bibliographical references |
| Beschreibung: | XII, 276 S. Ill. |
| ISBN: | 9780199215492 |
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| 245 | 1 | 0 | |a How plays work |b reading and performance |c Martin Meisel |
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Datensatz im Suchindex
| _version_ | 1817341288176943104 |
|---|---|
| adam_text |
Contents
List ofFigures xiii
1. Introduction: The Art ofReading Plays 1
2. Beginnings 12
2.1. Defining the stage/Enlisting the audience 13
2.2. Setting the defaults/Breaking the rules 17
2.3. Modulations 19
2.4. Puzzle pictures 21
2.5. Demontage 22
2.6. Theatre unveiled 26
2.7. Worlds within 32
3. Seeing and Hearing 43
3.1. Sound that is not speech 46
3.2. Indirect seeing 49
3.3. Visible speech 51
3.4. Masks and markings 56
3.5. Dress code 58
3.6. The object in view "3
3.7. Movement and configuration 66
4. TheUsesofPlace 74
4.1. Statics 75
4.2. Dynamics 77
4.3. Place Time 85
5. The Roleof the Audience %
5.1. Audience enactments "9
5.2. Illicit intercourse 105
5.3. Audience Surrogates
5.4. Audience expectations 112
5.5. Outreach 121
xii Contents
6. TheShapeoftheAction 129
6.1. One thing after another 132
6.2. Shaping forces 138
6.3. Penetrative progressions 142
6.4. Figuresofthe whole 147
7. TheActionofWords 155
7.1. Expressing, impelling, revealing 160
7.2. Lapsus linguae 180
8. Reading Meanings 191
8.1. Thematics 193
8.2. Parable and'conceit' 201
8.3. Making a case 207
8.4. Naturalized symbolism 211
8.5. Where it all comes together (perhaps) 216
9. Primal Attractions 221
9.1. Mimesis and magic 222
9.2. Thepleasureofprivileged witness 231
Notes 238
Bibliograph)/ 259
Index 267
List of Figures
1. Scene from Giorgio Strehler's production of Carlo Goldoni's II servitore di
duepadroni, 1956 7, Archivio Fotografico, Piccolo Teatro di Milano. 2
2. Dion Boucicault's The Colleen Bawn (1860), Act II, Scene vi, from a
contemporary print. Private collection. 5
3. The rehearsal scene from the Theatre Guild production of Nikolai
Evreinov's The Chief Thing, New York 1926, design by Sergei Soudeikine.
Billy Rose Theatre Division, The New York Public Library for the Perform
ing Arts, Astor, Lenox and Tilden Foundations. 31
4. Last scene from a contemporary production of Moliere's Don Juan, ou Le
Festin de Pierre. Billy Rose Theatre Division, The New York Public Library
for the Performing Arts, Astor, Lenox and Tilden Foundations. 55
5. Sheet music cover showing the vision scene from Charles Kean's production
of The Corsican Brothers, London, 1852. Private collection. 93
6. Honore Daumier, 'They say that Parisians are hard to please. .' from
'Sketches Taken in the Theatre', Lithograph, Charivari, 13 February 1864.
The Daumier Register. 98
7. J. J. Grandville, 'The First Night of Hemam, illustration for Louis Rey
baud's novel Jerome Parturot (1846), wood engraving. 115
8. Scene from a production of Bertolt Brecht's Mother Courage and Her
Children in Dortmund, West Germany, no later than 1952. From a
photo reproduced in the Berliner Ensemble's Theaterarbeit, a record and
commentary. 135
9. Scene from Mother Courage and Her Children, New York, 1963. Billy Rose
Theatre Division, The New York Public Library for the Performing Arts,
Astor, Lenox and Tilden Foundations. 136
10. Scene from Giorgio Strehler's production of Shakespeare's The Tempest,
1977 8, photo, Luigi Ciminaghi, Archivio Fotografico, Piccolo Teatro di
Milano. 225 |
| adam_txt |
Contents
List ofFigures xiii
1. Introduction: The Art ofReading Plays 1
2. Beginnings 12
2.1. Defining the stage/Enlisting the audience 13
2.2. Setting the defaults/Breaking the rules 17
2.3. Modulations 19
2.4. Puzzle pictures 21
2.5. Demontage 22
2.6. Theatre unveiled 26
2.7. Worlds within 32
3. Seeing and Hearing 43
3.1. Sound that is not speech 46
3.2. Indirect seeing 49
3.3. Visible speech 51
3.4. Masks and markings 56
3.5. Dress code 58
3.6. The object in view "3
3.7. Movement and configuration 66
4. TheUsesofPlace 74
4.1. Statics 75
4.2. Dynamics 77
4.3. Place Time 85
5. The Roleof the Audience %
5.1. Audience enactments "9
5.2. Illicit intercourse 105
5.3. Audience Surrogates
5.4. Audience expectations 112
5.5. Outreach 121
xii Contents
6. TheShapeoftheAction 129
6.1. One thing after another 132
6.2. Shaping forces 138
6.3. Penetrative progressions 142
6.4. Figuresofthe whole 147
7. TheActionofWords 155
7.1. Expressing, impelling, revealing 160
7.2. Lapsus linguae 180
8. Reading Meanings 191
8.1. Thematics 193
8.2. Parable and'conceit' 201
8.3. Making a case 207
8.4. Naturalized symbolism 211
8.5. Where it all comes together (perhaps) 216
9. Primal Attractions 221
9.1. Mimesis and magic 222
9.2. Thepleasureofprivileged witness 231
Notes 238
Bibliograph)/ 259
Index 267
List of Figures
1. Scene from Giorgio Strehler's production of Carlo Goldoni's II servitore di
duepadroni, 1956 7, Archivio Fotografico, Piccolo Teatro di Milano. 2
2. Dion Boucicault's The Colleen Bawn (1860), Act II, Scene vi, from a
contemporary print. Private collection. 5
3. The rehearsal scene from the Theatre Guild production of Nikolai
Evreinov's The Chief Thing, New York 1926, design by Sergei Soudeikine.
Billy Rose Theatre Division, The New York Public Library for the Perform
ing Arts, Astor, Lenox and Tilden Foundations. 31
4. Last scene from a contemporary production of Moliere's Don Juan, ou Le
Festin de Pierre. Billy Rose Theatre Division, The New York Public Library
for the Performing Arts, Astor, Lenox and Tilden Foundations. 55
5. Sheet music cover showing the vision scene from Charles Kean's production
of The Corsican Brothers, London, 1852. Private collection. 93
6. Honore Daumier, 'They say that Parisians are hard to please. .' from
'Sketches Taken in the Theatre', Lithograph, Charivari, 13 February 1864.
The Daumier Register. 98
7. J. J. Grandville, 'The First Night of Hemam, illustration for Louis Rey
baud's novel Jerome Parturot (1846), wood engraving. 115
8. Scene from a production of Bertolt Brecht's Mother Courage and Her
Children in Dortmund, West Germany, no later than 1952. From a
photo reproduced in the Berliner Ensemble's Theaterarbeit, a record and
commentary. 135
9. Scene from Mother Courage and Her Children, New York, 1963. Billy Rose
Theatre Division, The New York Public Library for the Performing Arts,
Astor, Lenox and Tilden Foundations. 136
10. Scene from Giorgio Strehler's production of Shakespeare's The Tempest,
1977 8, photo, Luigi Ciminaghi, Archivio Fotografico, Piccolo Teatro di
Milano. 225 |
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| spelling | Meisel, Martin 1931- Verfasser (DE-588)1083009877 aut How plays work reading and performance Martin Meisel 1. publ. Oxford [u.a.] Oxford Univ. Press 2007 XII, 276 S. Ill. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references Drama History and criticism Drama Technique Aufführung (DE-588)4143388-9 gnd rswk-swf Lesen (DE-588)4035439-8 gnd rswk-swf Drama (DE-588)4012899-4 gnd rswk-swf Drama (DE-588)4012899-4 s Lesen (DE-588)4035439-8 s Aufführung (DE-588)4143388-9 s DE-604 http://www.loc.gov/catdir/toc/ecip0714/2007011337.html Table of contents only HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015961307&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Augsburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015961307&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| subject_GND | (DE-588)4143388-9 (DE-588)4035439-8 (DE-588)4012899-4 |
| title | How plays work reading and performance |
| title_auth | How plays work reading and performance |
| title_exact_search | How plays work reading and performance |
| title_exact_search_txtP | How plays work reading and performance |
| title_full | How plays work reading and performance Martin Meisel |
| title_fullStr | How plays work reading and performance Martin Meisel |
| title_full_unstemmed | How plays work reading and performance Martin Meisel |
| title_short | How plays work |
| title_sort | how plays work reading and performance |
| title_sub | reading and performance |
| topic | Drama History and criticism Drama Technique Aufführung (DE-588)4143388-9 gnd Lesen (DE-588)4035439-8 gnd Drama (DE-588)4012899-4 gnd |
| topic_facet | Drama History and criticism Drama Technique Aufführung Lesen Drama |
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