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Shakespeare in parts /
Shakespeare's drama originally circulated in the form of the individual actor's part, containing only a single character's speeches and brief cues. This collaboration of original theatre history with exciting literary criticism captures anew Shakespeare's development as a writer.
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Otros Autores: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Oxford ; New York :
Oxford University Press,
2007.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Palfrey, Simon. | |
| 245 | 1 | 0 | |a Shakespeare in parts / |c Simon Palfrey and Tiffany Stern. |
| 260 | |a Oxford ; |a New York : |b Oxford University Press, |c 2007. | ||
| 300 | |a 1 online resource (xii, 545 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
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| 347 | |a data file | ||
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 520 | 8 | |a Shakespeare's drama originally circulated in the form of the individual actor's part, containing only a single character's speeches and brief cues. This collaboration of original theatre history with exciting literary criticism captures anew Shakespeare's development as a writer. | |
| 505 | 0 | |a INTRODUCTION; I: HISTORY; 1. The Actor's Part; 2. The Actors; 3. Rehearsing and Performing; II: INTERPRETING CUES; 4. History of the Cue; 5. Interpreting Shakespeare's Cues; 6. Cues and Characterisation; 7. Waiting and Suddenness: the Part in Time; 8. Repeated Cues; 9. Repeated cues: from Crowds to Clowns; 10. Repeated cues: comi-tragic/tragic-comic pathos; 11. Repeated cues and the battle for the cue-space: The Merchant of Venice; 12. Repeated cues and tragedy; 13. Repeated cues and the cue-space in King Lear; 14. Repeated cues and post-tragic effects; 15. Repeated Cues and the Cue-Space in The Tempest; III: THE ACTOR WITH HIS PART; 16. History; 17. Dramatic prosody; 18. Prosodic Switches: From Actor's Prompt to Absent Presence; 19. Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence; 20. Case studies: six romantic heroines and three lonely men. | |
| 506 | |3 Use copy |f Restrictions unspecified |2 star |5 MiAaHDL | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified] : |c HathiTrust Digital Library, |d 2010. |5 MiAaHDL | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
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| 546 | |a English. | ||
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| 600 | 1 | 0 | |a Shakespeare, William, |d 1564-1616 |x Criticism and interpretation. |
| 600 | 1 | 7 | |a Shakespeare, William, |d 1564-1616 |2 fast |1 https://id.oclc.org/worldcat/entity/E39PBJxx96qPfyhwWrJChP9kXd |
| 600 | 1 | 7 | |a Shakespeare, William, |d 1564-1616 |x analys och tolkning. |2 sao |
| 650 | 0 | |a Theater |z England |x History |y 17th century. | |
| 650 | 6 | |a Théâtre |z Angleterre |x Histoire |y 17e siècle. | |
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| 650 | 7 | |a DRAMA |x Shakespeare. |2 bisacsh | |
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| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 655 | 7 | |a History |2 fast | |
| 700 | 1 | |a Stern, Tiffany. | |
| 758 | |i has work: |a Shakespeare in parts (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGryQ9GWm8r7vp4DHjCQmd |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Palfrey, Simon. |t Shakespeare in parts. |d Oxford ; New York : Oxford University Press, 2007 |z 9780199272051 |z 0199272050 |w (OCoLC)132294193 |
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