By Richard Cave, Elizabeth Schafer, Visit Amazon's Brian Woolland Page, search results, Learn about Author Central, Brian Woolland,
Ben Jonson and Theatre is an research and occasion of Jonson's performs from the viewpoint of the theatre practitioner in addition to the trainer. Reflecting the expanding curiosity within the wider box of Renaissance drama, this ebook bridges the theory/practice divide by way of debating how Jonson's drama operates in functionality. Ben Jonson and Theatre contains: * discussions with and among practitioners * essays at the staging of the performs * edited transcripts of interviews with modern practitioners the quantity comprises contributions from Joan Littlewood, Sam Mendes, John Nettles, Simon Russell Beale and Geoffrey Rush, Oscar-winning actor for Shine.
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Extra info for Ben Jonson and the Theatre: Performance, Practice, and Theory
Everyone believes at first that the girl has taken fright at the fisticuffs that broke out between Ironside and Sir Moth at Lady Loadstone’s dinner party. The dialogue that accompanies the image of Placentia being carried over the stage focuses our attention on her frail condition as in a sweat and fainting. 74–5) and by the end of the act that she has been delivered of an illegitimate child. The midwife, Mother Chair, summoned to assist at the birth, is required to administer a potion to Placentia that promptly VISUALISING JONSON’S TEXT 37 restores her to full strength so that she may be seen confidently walking about the house and so dispel gossip and rumours.
10 Why should they spend time with modern editorial formats searching for that pace, when Jonson’s own texts devise ways of giving them immediate access to the required tempo? The device has other connotations for performance worth commenting on, which are exemplified by the closing lines of that opening scene of The Alchemist. SCRIPT AND PERFORMANCE 25 The quarrel has scarcely been resolved when a knock comes ‘within’, Doll is sent to spy on who has arrived and reports back that it is a young man with the appearance of a clerk; Face identifies the man as a new intended gull, Dapper; the name means nothing at first to his accomplices, till Face reminds them of information about the man’s longing for a familiar which he had previously imparted; the trio have now to decide how best to handle the situation.
The seemingly simple act of viewing is transformed by Jonson’s dramaturgy into an ethical challenge. Long before the gaze became a theorised issue of considerable complexity, Jonson was devising the means to deconstruct for alert audiences the psychological processes involved in reading the visual systems of performance. What he would appear to be denying audiences is the right to experience theatre as escapist and yet his devices for achieving that end are always wittily conceived. This is especially true of The Devil is an Ass which begins with a clever factionalising of the theatre audience: the stage sweeper by way of Prologue requires those spectators wealthy enough to sit onstage for the performance not to take up so much room with their fine clothes and antics that they constrict the playing space for the actors and so limit everyone else’s enjoyment.
Ben Jonson and the Theatre: Performance, Practice, and Theory by Richard Cave, Elizabeth Schafer, Visit Amazon's Brian Woolland Page, search results, Learn about Author Central, Brian Woolland,