By Andrew James Hartley (auth.)
This ebook marries a theoretical research of the problems underlying the position of the dramaturg with a radical feel of the cloth stipulations of theatrical construction, from script enhancing and practice session room interactions to the education of programme notes and viewers lectures. critical to the venture is a inspiration of authority outlined now not through textual content or writer, yet via the theatre itself. the result's a advisor for the potential dramaturg which additionally presents for the extra common reader a special case research of the nexus among the tools and assumptions of literary feedback and people of functional theatre.
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Extra resources for The Shakespearean Dramaturg: A Theoretical and Practical Guide
Acting approaches based on the quartos are less common (at least in part because half the Shakespeare canon does not exist in quarto), though there has been a rise in interest in performing the “bad quartos,” which have, perhaps, a better claim to being “actorly” than does the Folio. Of course, such a practice is fraught with its own difficulties, not least of which is audience expectation. ” This is not to say, of course, that consideration of the earliest printed versions of Renaissance plays is of no value.
I was surprised and frustrated, and I retreated temporarily from the process, feeling unappreciated. But he was right. The room was small, the actors only a few feet from where I sat beside the director, and my constant scribbling was distracting, making the actors uneasy and self-conscious. The director was not trying to shut me out of the process, only to remind me of its fragility, a fragility I was threatening by being overzealous. A dramaturg comes with a certain amount of “expert” insight that, rooted as it is assumed to be in text and history, can easily create the sense of an oppressive and restrictive presence which I alluded to earlier: the dramaturg as Shakespeare police.
3 This is why, these scholars argue, the Folio was not compiled until after the author’s death, why it was put together by his friends as a posthumous (and potentially profitable) monument, rather than something in which Shakespeare himself had any direct hand. Ben Jonson had published a similar collection of his dramatic “works” in 1616, containing lengthy and annotated versions of his plays aimed at a sophisticated reader, and had been taunted for his hubris. Plays, say these scholars, were not the stuff of serious literature.