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|Additional Physical Format:||Print version:
Moving Shakespeare Indoors : Performance and Repertoire in the Jacobean Playhouse.
Cambridge : Cambridge University Press, ©2014
|Named Person:||William Shakespeare; William Shakespeare|
|Material Type:||Document, Internet resource|
|Document Type:||Internet Resource, Computer File|
|All Authors / Contributors:||
Andrew Gurr; Farah Karim-Cooper
|ISBN:||9781139865258 1139865250 9781139629195 1139629190 9781139870986 113987098X|
|Notes:||The Globe and Blackfriars combined.|
|Description:||1 online resource (xiii, 284 pages) : illustrations (some color)|
|Contents:||Cover; Half-title page; Title page; Copyright page; Contents; Figures and plates; Notes on contributors; Acknowledgments; Introduction; Why indoors?; Part I The context of hard evidence; Chapter 1 Why the theatres changed; Chapter 2 Practical evidence for a reimagined indoor Jacobean theatre; What to build?; The changing status of Worcester College drawings 7b and 7c; Close examination of the Worcester College drawings 7b and 7c; Understanding the underlying geometry of the plan; Carpentry and timber framing; The inner frame jetty, the outer frame and the upper gallery columns; Plates. Reimagining Jacobean decorationColumns, carving and Jacobean ornament; Reimagining the frons scenae; Conclusion; Chapter 3 Documentary evidence for an indoor Jacobean theatre; Blackfriars; The Cockpit, or Phoenix, Drury Lane; Towards a Jacobean ideal: classicism vs. 'Jacobethan'; Building a Jacobean ideal; Chapter 4 Continuities and innovations in staging; Part II Materiality indoors; Chapter 5 'A ruinous monastery': the Second Blackfriars Playhouse as a place of nostalgia; Monastic nostalgia; Parliamentary nostalgia; Theatrical nostalgia; Courtly yearnings. Chapter 6 'When torchlight made an artificial noon': light and darkness in the indoor Jacobean theatreDaylight; Artificial light; Positioning the lights; 'Theluster of Torches, the sparking of rich Jewells'; Case study: The Duchess of Malfi at the Blackfriars, autumn 1614; Chapter 7 Acoustic and visual practices indoors; Acoustic practices; Visual practices; chapter 8 The audience of the indoor theatre; Desdemona's face; Dead bodies, wax figures and statues; The problem of living actors performing dead bodies; Blackfriars' auditorium and proximity; Blackfriars' auditorium and eroticism. The Lady's TragedyStriptease; The Winter's Tale; Chapter 9 In the event of fire; Theatre inside out; Extremely loud and incredibly close; The rise of the machines; Museum theatre; Coda: revisions; Chapter 10 To glisten in a playhouse: cosmetic beauty indoors; Beauty in Jacobean England; Beauty in the indoor playhouse; The Winter's Tale: a Blackfriars spectacle; Part III The new fashions for indoors; Chapter 11 The new fashion for indoor plays; Necessary adjustments for transferring plays from big stage to small; Features of the indoor stages that affected performances. The consequences of music indoorsTragicomedy and novelty at the indoor theatres; Chapter 12 Changing fashions: tragicomedy, romance and heroic women in the 1630s hall-playhouses; Contexts: the theatrical queen, the playwriting courtand the cult of platonic love; Love and Honour: the 'hope of endlesse glory'; 'A womans breast in a doublet': The Prisoners, cross-dressing and the culture of revival; Heroic 'women' on stage; Chapter 13 Reviving the legacy of indoor performance; Shakespeare and the 'little eyases'; The Blackfriars repertory and Shakespeare's late style.|
'Definitely a must-read for anyone studying theatre history or working on Jacobean drama.' Susan Elkin, The Stage '... a comprehensive and nuanced study of the Blackfriars. ... this elegant
- Shakespeare, William, -- 1564-1616 -- Dramatic production.
- Shakespeare, William, -- 1564-1616 -- Stage history.
- Blackfriars Theatre (London, England)
- Theater audiences -- Psychology.
- Blackfriars theatre (London, England)
- Shakespeare, William -- 1564-1616 -- Dramatic production.
- LITERARY CRITICISM -- European -- English, Irish, Scottish, Welsh.