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Moving Shakespeare Indoors : Performance and Repertoire in the Jacobean Playhouse / edited by Andrew Gurr and Farah Karim-Cooper.

Contributor(s): Material type: TextTextDescription: xiii, 284 pages : illustrations (some color) ; 24 cmISBN:
  • 9781107040632 (hardback)
Subject(s): DDC classification:
  • 792.9/5 23
LOC classification:
  • PR3091 .M68 2014
Other classification:
  • LIT004120
Online resources:
Contents:
Machine generated contents note: Introduction Andrew Gurr and Farah Karim-Cooper; Part I. The Context of Hard Evidence: 1. Why the theatres changed John H. Astington; 2. Practical evidence for a re-imagined indoor Jacobean theatre Jon Greenfield and Peter McCurdy; 3. Documentary evidence for an indoor Jacobean theatre Oliver Jones; 4. Continuities and innovations in staging Mariko Ichikawa; Part II. Materiality Indoors: 5. 'A ruinous monastery': the Second Blackfriars playhouse as a place of nostalgia Tiffany Stern; 6. 'When torchlight made an artificial noon': light and darkness in the indoor Jacobean theatre Martin White; 7. Acoustic and visual practices indoors Sarah Dustagheer; 8. The audience of the indoor theatre Penelope Woods; 9. In the event of fire Paul Menzer; 10. To glisten in a playhouse: cosmetic beauty indoors Farah Karim-Cooper; Part III. The New Fashions for Indoors: 11. The new fashion for indoor plays Andrew Gurr; 12. Changing fashions: tragicomedy, romance and heroic women in the 1630s hall-playhouses Eleanor Collins; 13. Reviving the legacy of indoor performance Bart van Es; Appendix: list of plays performed at indoor playhouses, 1575-1642 Sarah Dustagheer.
Summary: "Shakespeare's Company, the King's Men, played at the Globe, and also in an indoor theatre, the Blackfriars. The year 2014 witnesses the opening of the Sam Wanamaker Playhouse, based on seventeenth-century designs of an indoor London theatre and built within the precincts of the current Globe on Bankside. This volume, edited by Andrew Gurr and Farah Karim-Cooper, asks what prompted the move to indoor theatres, and considers the effects that more intimate staging, lighting and music had on performance and repertory. It discusses what knowledge is required when attempting to build an archetype of such a theatre, and looks at the effects of the theatre on audience behaviour and reception. Exploring the ways in which indoor theatre shaped the writing of Shakespeare and his contemporaries in the late Jacobean and early Caroline periods, this book will find a substantial readership among scholars of Shakespeare and Jacobean theatre history"--
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Item type Current library Call number Status Date due Barcode
General Books General Books CUTN Central Library Generalia 792.9/5 (Browse shelf(Opens below)) Available 21166

Machine generated contents note: Introduction Andrew Gurr and Farah Karim-Cooper; Part I. The Context of Hard Evidence: 1. Why the theatres changed John H. Astington; 2. Practical evidence for a re-imagined indoor Jacobean theatre Jon Greenfield and Peter McCurdy; 3. Documentary evidence for an indoor Jacobean theatre Oliver Jones; 4. Continuities and innovations in staging Mariko Ichikawa; Part II. Materiality Indoors: 5. 'A ruinous monastery': the Second Blackfriars playhouse as a place of nostalgia Tiffany Stern; 6. 'When torchlight made an artificial noon': light and darkness in the indoor Jacobean theatre Martin White; 7. Acoustic and visual practices indoors Sarah Dustagheer; 8. The audience of the indoor theatre Penelope Woods; 9. In the event of fire Paul Menzer; 10. To glisten in a playhouse: cosmetic beauty indoors Farah Karim-Cooper; Part III. The New Fashions for Indoors: 11. The new fashion for indoor plays Andrew Gurr; 12. Changing fashions: tragicomedy, romance and heroic women in the 1630s hall-playhouses Eleanor Collins; 13. Reviving the legacy of indoor performance Bart van Es; Appendix: list of plays performed at indoor playhouses, 1575-1642 Sarah Dustagheer.

"Shakespeare's Company, the King's Men, played at the Globe, and also in an indoor theatre, the Blackfriars. The year 2014 witnesses the opening of the Sam Wanamaker Playhouse, based on seventeenth-century designs of an indoor London theatre and built within the precincts of the current Globe on Bankside. This volume, edited by Andrew Gurr and Farah Karim-Cooper, asks what prompted the move to indoor theatres, and considers the effects that more intimate staging, lighting and music had on performance and repertory. It discusses what knowledge is required when attempting to build an archetype of such a theatre, and looks at the effects of the theatre on audience behaviour and reception. Exploring the ways in which indoor theatre shaped the writing of Shakespeare and his contemporaries in the late Jacobean and early Caroline periods, this book will find a substantial readership among scholars of Shakespeare and Jacobean theatre history"--

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