LEADER 03610nam 22005295 450 001 9910149435603321 005 20230605052032.0 010 $a1-4426-3809-5 010 $a1-4426-5358-2 024 7 $a10.3138/9781442653580 035 $a(CKB)3710000000926044 035 $a(MiAaPQ)EBC4730335 035 $a(DE-B1597)479287 035 $a(OCoLC)992466236 035 $a(DE-B1597)9781442653580 035 $a(OCoLC)1380746003 035 $a(MdBmJHUP)musev2_107514 035 $a(EXLCZ)993710000000926044 100 $a20170630d2017 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 00$aIndirections $eShakespeare and the Art of illusion /$fAnthony Dawson 210 1$aToronto : $cUniversity of Toronto Press, $d[2017] 210 4$dİ1978 215 $a1 online resource (211 pages) 225 0 $aHeritage 300 $aIncludes index. 311 $a1-4426-3977-6 327 $tFrontmatter -- $tPreface -- $tContents -- $tIntroduction -- $t1. The Merchant of Venice -- $t2. As You Like It -- $t3. Hamlet -- $t4. A Midsummer Night's Dream, Twelfth Night, and Troilus and Cressida -- $t5. All's Well that Ends Well -- $t6. Measure for Measure -- $t7. King Lear, Antony and Cleopatra, and The Winter's Tale -- $t8. The Tempest -- $tNotes -- $tIndex 330 $aThe precise relation between the spectator and the work of art was a matter of great interest to late Renaissance and baroque artists, playwrights as well as painters. In Shakespeare's plays the relation between audience and stage life is crucial. The plays constantly remind the audience of the complex fictiveness of their experience yet they also project a reality specifically through illusion. Indirections is a study of twelve plays in which Shakespeare sets up situations and relationships between the characters analogous to the relationship established between audience and play. This book examines the varied uses of illusion, deceit, disguise, and manipulation in the plays, both comedies and tragedies, and traces Shakespeare's use of illusion through his career - from the buoyant optimism of the great comedies and the ambiguity of the middle years to the new richness and power in the romances. Dawson suggests that the way characters respond to illusory situations sets up a model for the way audiences are meant to respond to the play themselves. Such action at least initially establishes a basis for the movement of characters from self-delusion to self-knowledge. This process of self-realization enables the characters to distinguish truth from appearance, love from infatuation; and significantly, it is a direct result of involvement with illusion and role-playing. It is as if the characters must arrive, within the movement of the plot, at an understanding of, and response to, the nature of drama itself parallel to the audience's experience of the play as a whole. This subtle interplay between audience and characters, where each in a sense represents the other, depends for its life on the physical and psychic distances created by the theatre. 606 $aDisguise in literature 606 $aIllusion in literature 608 $aCriticism, interpretation, etc. 608 $aElectronic books. 615 0$aDisguise in literature. 615 0$aIllusion in literature. 676 $a822.3/3 700 $aDawson$b Anthony$0906423 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910149435603321 996 $aIndirections$92027037 997 $aUNINA