Dramatis Personae: The Rise of Medieval and Renaissance TheatrePeter Owen, 2006 - 931 頁 Touching on "Passion Plays" and "Mysteries and Moralities," this exploration also examines the folk farces that flourished during the Middle Ages. Discussing developments during the Renaissance in Italy such as the commedia dell'arte as well as exalted musical innovations culminating in operas and ballets, the book also discusses the drama of Europe--including Spain, France, Germany, Holland, and Great Britain--where theater reached an extraordinary climax in the Elizabethan and Jacobean periods in the work of Shakespeare and others. Providing a summary of Shakespeare's plays and how they have been interpreted through the centuries, this account also examines in detail his contemporaries--Marlowe, Kyd, Ford, Beaumont, Fletcher, and others-- before considering the work of Jonson and Webster, two great dramatists who outlived the Bard. |
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第 1 到 3 筆結果,共 82 筆
第 71 頁
... Especially the pungency of the instrumentation may raise some purist eyebrows , despite the small number of players actually employed . Nevertheless , the performance is a delight , with some particularly strong solo singing from ...
... Especially the pungency of the instrumentation may raise some purist eyebrows , despite the small number of players actually employed . Nevertheless , the performance is a delight , with some particularly strong solo singing from ...
第 202 頁
... especially in medieval times , but were looked upon as an inferior and outcast form of drama ; Cecchi sought to make the genre respectable . To give it a classical provenance he cited one that reportedly was performed at the court of ...
... especially in medieval times , but were looked upon as an inferior and outcast form of drama ; Cecchi sought to make the genre respectable . To give it a classical provenance he cited one that reportedly was performed at the court of ...
第 221 頁
... ( especially Florentine ) in which much of the action revolves around a central beffa , in serious comedy there is no major trickery ( Lepida's feigned sickness can be considered only a half - hearted trick and not a central device ) ...
... ( especially Florentine ) in which much of the action revolves around a central beffa , in serious comedy there is no major trickery ( Lepida's feigned sickness can be considered only a half - hearted trick and not a central device ) ...
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acting action actors Aretino Arlecchino artistic audience ballet Ben Jonson century characters Church classical comedy comic commedia dell'arte composed costumes court critics Cymbeline dance daughter death decades dialogue drama dramatist Duke earlier Elizabethan English farce father Faustus Festival figure Florence French genre Giovanni Hamlet Henry honour Hôtel de Bourgogne humour husband Italian Italy John Jonson King lady later Latin Lear libretto London Lope Lope de Vega lovers Macbeth Mantua Marlowe Marlowe's marriage married medieval moral offering opera opera seria Othello passion performance perhaps person Plautus play players playwright plot poet poetry popular portrayed Prince production Queen Renaissance Richard Richard II role Roman Rome royal scene scholars score script seeks servant Shakespeare Spanish spectators stage story T.S. Eliot Tamburlaine theatre theatrical tragedy tragicomedy troupe turn Venice verse Volpone wedding wife writing wrote young