Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage -- Fischer, Susan L.
￥27,720
税込
商品コード： 125584
商品コード(SBC): 125584
ISBN13: 9781855661813
サイズ: 15.5 x 23.5 x 2.9 cm
頁 数: 392 pgs.
重 量: 0.75 kgs
装 丁: hard cover
出版社: Boydell & Brewer
発行年: 2009
発行地: London
双書名: Tamesis A/Monografias, 272
ISBN13: 9781855661813
サイズ: 15.5 x 23.5 x 2.9 cm
頁 数: 392 pgs.
重 量: 0.75 kgs
装 丁: hard cover
出版社: Boydell & Brewer
発行年: 2009
発行地: London
双書名: Tamesis A/Monografias, 272
Descripción:
Spanish Golden-Age plays take their place at the forefront of world theatre.
Oscar Wilde once observed that `it is the spectator, and not life, that art really mirrors’. This thought is borne out in this volume, which brings together two different and often mutually exclusive constituencies: the academic critic and the theatre practitioner. In looking at the ways in which theatre is a barometer of society, the essays in this book form part of a larger theoretical inquiry into performance as interpretation, contingent upon the cultural context. Engaging with theoretical approaches to culture, and theoreticians from Elam to Brook, and from Derrida to Bakhtin, the author analyzes in detail productions of plays by Lope de Vega, Tirso de Molina, and Calderón dela Barca, as well as an adaptation of Rojas’ Celestina, on the Spanish, or French, or Anglo-American stage. Two chapters deal with appropriations of Shakespeare’s Merchant of Venice in translation on the Spanish andFrench boards.
As they read performance in [trans]national productions, these essays are not only at the cutting-edge of theatre studies on the `foreign’ stage, but they also bring Spanish Golden-Age plays, long neglected byprofessional directors of the classics because of the lack of a continuous performance tradition, closer to assuming their rightful place amongst `the great theatre of the world’.
Spanish Golden-Age plays take their place at the forefront of world theatre.
Oscar Wilde once observed that `it is the spectator, and not life, that art really mirrors’. This thought is borne out in this volume, which brings together two different and often mutually exclusive constituencies: the academic critic and the theatre practitioner. In looking at the ways in which theatre is a barometer of society, the essays in this book form part of a larger theoretical inquiry into performance as interpretation, contingent upon the cultural context. Engaging with theoretical approaches to culture, and theoreticians from Elam to Brook, and from Derrida to Bakhtin, the author analyzes in detail productions of plays by Lope de Vega, Tirso de Molina, and Calderón dela Barca, as well as an adaptation of Rojas’ Celestina, on the Spanish, or French, or Anglo-American stage. Two chapters deal with appropriations of Shakespeare’s Merchant of Venice in translation on the Spanish andFrench boards.
As they read performance in [trans]national productions, these essays are not only at the cutting-edge of theatre studies on the `foreign’ stage, but they also bring Spanish Golden-Age plays, long neglected byprofessional directors of the classics because of the lack of a continuous performance tradition, closer to assuming their rightful place amongst `the great theatre of the world’.
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