Shakespeare in parts [[electronic resource] /] / Simon Palfrey and Tiffany Stern

• Record Nr.: UNINA9910812766303321
• Autore: Palfrey Simon
• Pubbl/distr/stampa: Oxford, : Oxford University Press, 2007
• ISBN: 9780191534010; 0191534013
• Edizione: [1st ed.]
• Descrizione fisica: xii, 545 p. : ill
• Altri autori (Persone): SternTiffany
• Disciplina: 822.33
• Soggetti: Theater - England - History - 17th century
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Nota di bibliografia: Includes bibliographical references and index.
• Nota di contenuto: Intro -- Contents -- List of Illustrations -- Textual Notes -- Introduction -- I. HISTORY -- 1. The Actor's Part -- Early Modern Professional Parts -- The University Parts -- The Restoration Part -- Later Parts -- Twentieth-Century Parts -- 2. The Actors -- Casting -- Typecasting -- 'Becoming' the Part -- Doubling and Vizards -- 3. Rehearsing and Performing -- The Reading -- The Distribution of Parts -- Learning Parts -- Instruction -- Rehearsal -- Performance and the Prompter -- Performances and Repeated Performances -- II. INTERPRETING CUES -- 4. History of the Cue -- The Cue -- Length of Cue -- 5. Interpreting Shakespeare's Cues: Introduction -- 6. Cues and Characterization -- Early and Inaugurating Cues -- Transitional Cues -- Recurring Cues -- Conclusion -- 7. Waiting and Suddenness: The Part in Time -- Ellipses and Plotting a Part -- Set-Piece: Macduff -- Cued Action -- Set-Piece: Bertram -- Short-Line Cues -- Conclusion -- III. REPEATED CUES -- 8. Introduction -- 9. From Crowds to Clowns -- Crowds -- Clowns -- Set-Piece: Malvolio -- 10. Comi-tragic/Tragi-comic Pathos -- Mercutio -- 11. The Battle for the Cue-Space: The Merchant of Venice -- Shylock's Repetitions -- Cues and Power -- Cues and Comic Uncertainty -- The Trial Scene -- Conclusion -- 12. Tragedy -- Tragic Bathos: Romeo and Juliet -- Tragic Pathos -- Julius Caesar -- Hamlet -- Troilus and Cressida -- Othello -- Lady Macbeth -- 13. The Cue-Space in King Lear -- Gloucester -- Poor Tom -- Edgar and Gloucester -- The 'Mad' Lear -- Cordelia -- The Final Scene -- 14. ; Post-Tragic Effects -- Antony and Cleopatra -- Imogen in Cymbeline -- 15. The Cue-Space in The Tempest -- Cueing the Scene -- Miranda -- Ariel -- Caliban (1) -- Ferdinand -- Antonio and Sebastian -- Caliban (2) -- Conclusion -- IV. THE ACTOR WITH HIS PART -- 16. History -- Interpreting Parts: Emotions.; Playwrights and Emotions -- Parts and Emphasis -- Parts and Action -- 17. Dramatic Prosody -- Introduction -- Verse/Prose -- Rhyme -- Short Speech Units (Short Lines, Midline Switches) -- 18. Prosodic Switches: Pauses, Prompts, and Soliloquies -- Romeo and Juliet -- Gloucester/Richard III -- Richard II -- 19. Midline Shifts in 'Mature' Shakespeare: From Actorly Instruction to 'Virtual' Presence -- 20. Case Studies: Five Romantic Heroines and Three Lonely Men -- Portia -- Rosalind -- Olivia -- Helena (All's Well That Ends Well) -- Isabella -- Mercutio -- Shylock -- Macbeth -- Notes -- Bibliography -- Index -- Index of Shakespearean Parts by Character -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- V -- W -- General Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W.
• Sommario/riassunto: 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 unique collaboration of original theatre history with exciting literary criticism captures anew Shakespeare's development as a writer, showing how scripting and acting work together to produce characters of unprecedented immediacy.