Women on Stage in Stuart DramaCambridge University Press, 2005 - 294页 Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood. |
在该图书中搜索
共有 69 个结果,这是第 1-5 个
第2页
... political division has consequences for the cultural agency exercised by the two queens consort who figure in this study , in particular for their theatrical performances . Elizabeth I conceived of herself as an actor , commenting in ...
... political division has consequences for the cultural agency exercised by the two queens consort who figure in this study , in particular for their theatrical performances . Elizabeth I conceived of herself as an actor , commenting in ...
第3页
... political aspirations of ' a number of ambitious and talented women ' . " Hitherto critics have focused on the sociopolitical function of women's masque performances . For the purposes of this book , the importance of the Stuart masque ...
... political aspirations of ' a number of ambitious and talented women ' . " Hitherto critics have focused on the sociopolitical function of women's masque performances . For the purposes of this book , the importance of the Stuart masque ...
第4页
... political relevance of royal masquing ' . " Thirty years later , Sir Lucius Cary , son of the dramatist Elizabeth Cary , expressed his enthusiasm for Queen Henrietta Maria's performance in Walter Montagu's pastoral drama The Shepherds ...
... political relevance of royal masquing ' . " Thirty years later , Sir Lucius Cary , son of the dramatist Elizabeth Cary , expressed his enthusiasm for Queen Henrietta Maria's performance in Walter Montagu's pastoral drama The Shepherds ...
第9页
... political engagement were limited . However , she formed strong links with ' the Essex circle ' which clustered around the figure of Lucy Russell , Countess of Bedford , whose husband was one of three earls who rode with Robert Devereux ...
... political engagement were limited . However , she formed strong links with ' the Essex circle ' which clustered around the figure of Lucy Russell , Countess of Bedford , whose husband was one of three earls who rode with Robert Devereux ...
第11页
... political and intellectual power , and in which , as one ambassador remarked , ' many negotiations [ were ] conducted through women'.45 This formed a contrast with the marriage of the homosocially inclined James and Anna , who after the ...
... political and intellectual power , and in which , as one ambassador remarked , ' many negotiations [ were ] conducted through women'.45 This formed a contrast with the marriage of the homosocially inclined James and Anna , who after the ...
其他版本 - 查看全部
常见术语和短语
action actors actress Anna of Denmark audience beauty Bellessa Ben Jonson Bianca Bonavent Broken Heart Calantha Cambridge University Press Carol Cartwright chastity Circe Circe's Cleopatra Coleorton comedy Comus court masque culture Cupid Cupid's Banishment CWKP dance Daniel's death discourse dramatists Duchess Duchess of Malfi Echo Elizabeth English Eumela Fairfield female performance feminine Ford's Gender Henrietta Maria heroic husband Hyde Park Inigo Jones Ithocles Jacobean James Shirley John Ford Jonson Katherine Philips Lady Frances Lady-Errant Lady's line in parentheses literary London Love's Sacrifice madness male Margaret Cavendish marriage masculine masquers McManus Messallina Milton Mistress Montagu's Moramante Newcastle nymphs Orgel Orgilus Oxford Paradise pastoral Penthea's Philips's play play's Poems political Pompey Queen Renaissance Renaissance Drama representation represented Revels role Rosaura's royal scene sexual Shakespeare's Shepherds shift Shirley Shirley's song speech stage Stephen Orgel Stuart Tempe Restored theatre theatrical Tragedy tragicomedy virtue William woman women writing
热门引用章节
第3页 - I have heard of your paintings too, well enough ; God hath given you one face, and you make yourselves another...
第6页 - See here the reason of that which I touched before, — that women have no voice in Parliament. They make no laws, they consent to none, they abrogate none. All of them are understood either married or to be married, and their desires are to their husbands. I know no remedy, that some women can shift it well enough.
第13页 - Cage, a comedy, which wanteth, I must confess, much of that ornament, which the stage and action lent it, for it comprehending also another play or interlude, personated by ladies, * I must refer to your imagination, the music, the songs, the dancing, and other varieties, which I know would have pleas'd you infinitely in the presentment.