04828nam 2200661Ia 450 991046561600332120200520144314.00-19-959110-597866111644921-281-16449-61-4356-1409-70-19-153401-3(CKB)2560000000296070(EBL)415764(OCoLC)476244762(SSID)ssj0000385463(PQKBManifestationID)11285417(PQKBTitleCode)TC0000385463(PQKBWorkID)10374669(PQKB)11193402(StDuBDS)EDZ0000023808(MiAaPQ)EBC415764(Au-PeEL)EBL415764(CaPaEBR)ebr10199684(CaONFJC)MIL116449(EXLCZ)99256000000029607020070502d2007 uy 0engur|n|---|||||txtccrShakespeare in parts[electronic resource] /Simon Palfrey and Tiffany SternOxford Oxford University Press20071 online resource (560 p.)Description based upon print version of record.0-19-927205-0 0-19-169958-6 Includes bibliographical references and index.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: Introduction6. Cues and CharacterizationEarly 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. TragedyTragic Bathos: Romeo and JulietTragic 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 ProsodyIntroductionVerse/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 IndexAB; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; WShakespeare'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. - ;A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmiTheaterEnglandHistory17th centuryElectronic books.TheaterHistory822.33Palfrey Simon605307Stern Tiffany604967MiAaPQMiAaPQMiAaPQBOOK9910465616003321Shakespeare in parts1117807UNINA