1/7/2023 0 Comments Tobalt audifyLow and Nova Myhill, Imagining the Audience in Early Modern Drama, 1558–1642 (New York: Palgrave Macmillan, 2011). Stephen Greenblatt, Shakespearean Negotiations: The Circulation of Energy in Renaissance England (Oxford: Clarendon Press, 1988).įor a variety of approaches see the recent collection edited by Jennifer A. Thomas Cartelli, Marlowe, Shakespeare, and the Economy of Theatrical Experience (Philadelphia, PA: University of Pennsylvania Press, 1991) Smith, Phenomenal Shakespeare (Chichester: Wiley-Blackwell, 2010) īruce McConachie, Engaging Audiences: A Cognitive Approach to Spectating in the Theatre (New York: Palgrave Macmillan, 2008) G., A Refutation of the Apology for Actors (London, 1615 repr., New York & London: Garland Publishing, 1973), F2v, who argues that the players corrupt history in adapting it for the stage, so that ‘the ignorant instead of true History shall beare away nothing but fabulous lyes.’Īpproaches to audience response include: Keir Elam, The Semiotics of Theatre and Drama (London: Methuen, 1980) īruce R. The defenders of history plays included Thomas Heywood, An Apology for Actors (1612 repr., New York & London: Garland Publishing, 1973), B4r: ‘lively and well spirited action … hath power to new mold the harts of the spectators and fashion them to the shape of any noble and notable attempt.’ For the opposing view, see (amongst others) I. On the ‘increased emotionalism’ of late 1580s and 1590s drama see Andrew Gurr, Playgoing in Shakespeare’s London (Cambridge University Press, 1987), 136–137. Robert Greene, Greenes Groatsworth of Witte bought with a Million of Repentance (1592 repr., Westport, CT: Greenwood Press, 1970), F1r. Forker, introduction to King Richard II (London: Thomson Learning, 2002), 5–23. The historical/political context is discussed by Charles R. The Norton Shakespeare (420) is non-committal. Warren Chernaik, The Cambridge Introduction to Shakespeare’s History Plays (Cambridge University Press, 2007), 96, disagrees, suggesting that the scene would be as dangerous to stage as it apparently was to print. ![]() Andrew Gurr, introduction to King Richard II (Cambridge University Press, 1984), 9–10, argues that the scene was most probably always performed. edn (Manchester: Manchester University Press, 1999), 57–60.Ī version of the deposition scene was not published until 1608, being omitted from the three quarto editions of 15. See Carol Chillington Rutter, ed., Documents of the Rose Playhouse, rev.
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