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Record Nr. |
UNINA9910813872003321 |
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Autore |
Egginton William <1969-> |
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Titolo |
How the world became a stage : presence, theatricality, and the question of modernity / / William Egginton |
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Pubbl/distr/stampa |
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Albany, NY, : State University of New York Press, c2003 |
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ISBN |
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0-7914-8771-7 |
1-4175-3599-7 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (217 p.) |
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Classificazione |
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Disciplina |
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Soggetti |
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Theater - Europe - History - 16th century |
Theater - Europe - History - 17th century |
Theater and society - Europe - History - 16th century |
Theater and society - Europe - History - 17th century |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front Matter -- Contents -- Acknowledgments -- Introduction: The Legend of Saint Genesius -- Actors, Agents, and Avatars -- Real Presence, Sympathetic Magic, and the Power of Gesture -- Saint Genesius on the Stage of the World -- A Tale of Two Cities: The Evolution of Renaissance Stage Practices in Madrid and Paris -- Theatricality versus Subjectivity -- Epilogue: A Future without Screens? -- Notes -- Index |
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Sommario/riassunto |
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What is special, distinct, modern about modernity? In How the World Became a Stage, William Egginton argues that the experience of modernity is fundamentally spatial rather than subjective and proposes replacing the vocabulary of subjectivity with the concepts of presence and theatricality. Following a Heideggerian injunctive to search for the roots of epochal change not in philosophies so much as in basic skills and practices, he describes the spatiality of modernity on the basis of a close historical analysis of the practices of spectacle from the late Middle Ages to the early modern period, paying particular attention to stage practices in France and Spain. He recounts how the space in which the world is disclosed changed from the full, magically charged space of presence to the empty, fungible, and theatrical space of the |
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