Theatre of the Book, 1480-1880: Print, Text, and Performance in EuropeTheatre of the Book is an account of the entangled histories of print and the theatre in Europe between the Renaissance and the late nineteenth century: a history of European dramatic publication (providing comparative and historical perspective to the growing field of textual studies); an examination of the creation of the modern notion of text and performance; and a comparative genealogy of ideas about theatrical and textual reception. It shows that, far from being marginal to Renaissance dramatists, the printing press had an essential role to play in the birth of the modern theatre, crucially shaping the normative conception of 'theatre' as a distinct aesthetic medium and of drama as a distinct narrative form, helping to forge a theatricalist aesthetics in opposition to 'the book'. Treating playtexts, engravings, actor portraits, notation systems, and theatrical ephemera at once as material objects and expressions of complex cultural formations, Theatre of the Book examines the European theatre's continual refashioning of itself in the world of print. |
From inside the book
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Page 6
... beginning: by the late fifteenth century, the presses were producing mysteries like Jean Michel and Arnoul Gréban's various versions of the Mystery of the Passion (printed in several editions from the s on); saints' plays like ...
... beginning: by the late fifteenth century, the presses were producing mysteries like Jean Michel and Arnoul Gréban's various versions of the Mystery of the Passion (printed in several editions from the s on); saints' plays like ...
Page 10
... beginning of an era in which theatre would live in fraught relation with the performing machine and the end of an era in which theatre was seen through, defined by, and understood in relation to the printed text. Note on Editions ...
... beginning of an era in which theatre would live in fraught relation with the performing machine and the end of an era in which theatre was seen through, defined by, and understood in relation to the printed text. Note on Editions ...
Page 17
... beginning to define the drama through layout and lettering, pre-sixteenth-century manuscript plays look in many ways like non-dramatic texts, and most early printed playtexts look much like the manuscript plays that preceded them.12 The ...
... beginning to define the drama through layout and lettering, pre-sixteenth-century manuscript plays look in many ways like non-dramatic texts, and most early printed playtexts look much like the manuscript plays that preceded them.12 The ...
Page 19
... beginning. A new speaker's line may simply continue on the same line as the last speaker's, with little indication that there has been a change of speaker. By the beginning of the sixteenth century, however, the shape of the printed ...
... beginning. A new speaker's line may simply continue on the same line as the last speaker's, with little indication that there has been a change of speaker. By the beginning of the sixteenth century, however, the shape of the printed ...
Page 21
... beginning geared towards the needs of readers, it was not initially geared towards readers accustomed to seeing staged plays. Late fifteenth- and early sixteenth-century drama could be conceptually indistinguishable from other genres ...
... beginning geared towards the needs of readers, it was not initially geared towards readers accustomed to seeing staged plays. Late fifteenth- and early sixteenth-century drama could be conceptually indistinguishable from other genres ...
Contents
1 | |
11 | |
13 | |
THEATRE IMPRIMATUR | 91 |
THE SENSES OF MEDIA | 145 |
THE COMMERCE OF LETTERS | 201 |
THEATRICAL IMPRESSIONS | 255 |
Epilogue | 308 |
Notes | 313 |
Works Cited | 444 |
Index | 487 |
Other editions - View all
Theatre of the Book, 1480-1880: Print, Text, and Performance in Europe Julie Stone Peters Limited preview - 2003 |
Common terms and phrases
acting action actors aesthetic attempt Beaumont and Fletcher become beginning body century Chapter characters claims classical collection Comedies Complete continued contract copies Corneille corrected create critics culture dedication describes directions discussion distinction drama dramatic dramatists early edition eighteenth English explains expression fact figures French gesture give hand identified illustrations imagination imitation important instance Italy John Jonson kind language late later learned letters Library literary living managers manuscript means narrative nature notes offer once original performance period Plautus plays playwrights poem poet poetic poetry preface printed printers production published readers reading reflected Renaissance represented scene scenic seemed seen senses seventeenth Shakespeare similarly space spectators speech stage theatre theatrical things Thomas tion tragedy trans translation various voice writes written