Shakespeare and the Imprints of Performance [electronic resource] /
Paul, J. Gavin.author.
Within the study of drama, the question of how to relate text and performance—and what interpretive tools are best suited to analyzing them—is a longstanding and contentious one. Most scholars agree that reading a printed play is a means of dramatic realization absolutely unlike live performance, but everything else beyond this premise is contestable: how much authority to assign to playwrights, the extent to which texts and readings determine performance, and the capability of printed plays to communicate the possibilities of performance. Without denying that printed plays distort and fragment performance practice, this book negotiates an intractable debate by shifting attention to the ways in which these inevitable distortions can nevertheless enrich a reader's awareness of a play's performance potentialities. As author J. Gavin Paul demonstrates, printed plays can be more meaningfully engaged with actual performance than is typically assumed, via specific editorial principles and strategies. Focusing on the long history of Shakespearean editing, he develops the concept of the performancescape: a textual representation of performance potential that gives relative shape and stability to what is dynamic and multifarious. .
Description based upon print version of record.
Cover; Title; Copyright; Dedication; Contents; List of Figures; The History of Text Technologies: General Editor's Preface; Acknowledgments; Prologue: Prospero's Storm; CHAPTER 1 Mediating Page and Stage; CHAPTER 2 Text and Performance on the Early Modern Page; CHAPTER 3 Performance and the Editorial Tradition; CHAPTER 4 Performance Commentary: Writing in the Sand; CHAPTER 5 The Critical Edition as Archive; Epilogue: Prospero's Bands; Notes; Bibliography; Index
Includes bibliographical references and index.
Within the study of drama, the question of how to relate text and performance—and what interpretive tools are best suited to analyzing them—is a longstanding and contentious one. Most scholars agree that reading a printed play is a means of dramatic realization absolutely unlike live performance, but everything else beyond this premise is contestable: how much authority to assign to playwrights, the extent to which texts and readings determine performance, and the capability of printed plays to communicate the possibilities of performance. Without denying that printed plays distort and fragment performance practice, this book negotiates an intractable debate by shifting attention to the ways in which these inevitable distortions can nevertheless enrich a reader's awareness of a play's performance potentialities. As author J. Gavin Paul demonstrates, printed plays can be more meaningfully engaged with actual performance than is typically assumed, via specific editorial principles and strategies. Focusing on the long history of Shakespearean editing, he develops the concept of the performancescape: a textual representation of performance potential that gives relative shape and stability to what is dynamic and multifarious. .
Shakespeare, William, 1564-1616
Performing arts.
Theater—History.
Theater.
Europe—History—476-1492.
British literature.
Performing Arts.
Theatre History.
Theatre and Performance Studies.
History of Medieval Europe.
British and Irish Literature.