By Derek Cohen (auth.)
Read or Download Shakespeare’s Culture of Violence PDF
Similar theater books
This ebook considers essentially the most fascinating and cutting edge advancements inside greater schooling: the increase of the inventive arts and the turning out to be attractiveness that artistic perform is a sound box of study. the quantity indicates that inventive perform can result in learn insights via what's referred to as practice-led study, but not like different books on practice-led examine, the textual content encompasses a dialogue at the optimistic effect of research-led perform.
Rodgers and Hammerstein's Tony and Pulitzer Prize-winning musical "South Pacific" has remained a mainstay of the yank musical theater because it opened in 1949, and its robust message approximately racial intolerance maintains to resonate with twenty-first century audiences. Drawing on large study within the Rodgers and the Hammerstein papers, together with Hammerstein's own notes on James A.
An entire path in forthcoming a job in a musical, it combines performing, making a song and dancing right into a complete advisor. The authors offer suggestion on all components of the occupation, together with basics of appearing utilized to musical theatre, script, rating and personality research, personalizing your functionality, turning practice session into functionality, appearing kinds within the musical theatre, and functional steps to a occupation.
- It Came From the 1950s! Popular Culture, Popular Anxieties
- The Haptic Aesthetic in Samuel Beckett’s Drama
- The Continuum Companion to Twentieth Century Theatre
- The Stage Life of Props (Theater: Theory Text Performance)
- A Sourcebook on Feminist Theatre and Performance: On and Beyond the Stage
- Alisa, Alice (Intellect Books - Play Text)
Additional info for Shakespeare’s Culture of Violence
As Bolingbroke and his followers exit, a new conspiracy is articulated among Carlisle, the Abbot of Westminster and Aumerle, a conspiracy that is the counterpart and repetition, with variations, of the earlier conspiracy which involved Northumberland, Ross and Willoughby. Reflexiveness achieves a kind of climax in the mirror episode, but that is only its final and most subtle expression. From the moment Richard appears a dividedness of vision impels the attention of all present, on- and offstage spectators alike.
The emphatic terminus implied by Hal's parting words is crassly mocked by Falstaff rising up . The act of cutting Percy's thigh is represented as antithetical to Hal's death-fight with Percy: as the fight was a lucid example of the purifying violence seen only in drama and ritual, so the attack on the corpse affirmed the value of the rite by its implied but debased re-enactment of the encounter. Hal, Hotspur, and Falstaff are, then, related through a ritual of violence, a ritual which exists on its own and through the dark glass of parody and travesty.
Westmoreland's description, however, is couched in the language of revulsion and disgust and completes a passage that pointedly distinguishes between good and evil violence and good and evil rituals of violence. There is, of course, another mutilation of a corpse in the play, and it too is a ritualized act of barbarity that stands as a kind of debasement or travesty of the rituals of socially beneficial violence. In these two acts of mutilation, however, the play intensifies the political divisions between beneficial and harmful violence.
Shakespeare’s Culture of Violence by Derek Cohen (auth.)