机读格式显示(MARC)
- 000 02199cam a2200289 a 4500
- 008 131025s2014 nyua b 001 0 eng
- 020 __ |a 9781107036574 (Hardback) : |c CNY608.74
- 040 __ |a DLC |b eng |c DLC |e rda
- 050 00 |a PR658.F7 |b P75 2014
- 082 00 |a 822/.309353 |2 23
- 100 1_ |a Preiss, Richard.
- 245 10 |a Clowning and authorship in early modern theatre / |c Richard Preiss.
- 260 __ |a New York : |b Cambridge University Press, |c 2014.
- 300 __ |a x, 287 pages : |b illustrations ; |c 24 cm.
- 504 __ |a Includes bibliographical references (pages 239-274) and index.
- 505 8_ |a Machine generated contents note: Introduction: the play is not the thing; 1. What audiences did; 2. Send in the clown; 3. Wiring Richard Tarlton; 4. Nobody's business; 5. Private practice; Epilogue: the principal verb.
- 520 __ |a "To early modern audiences, the 'clown' was much more than a minor play character. A celebrity performer, he was a one-man sideshow whose interactive entertainments - face-pulling, farce interludes, jigs, rhyming contests with the crowd - were the main event. Clowning epitomised a theatre that was heterogeneous, improvised and participatory, and irreducible to dramatic texts. How, then, did those texts emerge? Why did playgoers buy books that deleted not only the clown, but them as well? Challenging the narrative that clowns were 'banished' by playwrights like Shakespeare and Jonson, Richard Preiss argues that clowns such as Richard Tarlton, Will Kemp and Robert Armin actually made playwrights possible - bridging, through the publication of their routines, the experience of 'live' and scripted performance. Clowning and Authorship tells the story of how, as the clown's presence decayed into print, he bequeathed the new categories around which theatre would organise: the author, and the actor"--Provided by publisher.
- 650 _0 |a English drama |y Early modern and Elizabethan, 1500-1600 |x History and criticism.
- 650 _0 |a Fools and jesters in literature.
- 650 _0 |a Clowns in literature.