Pageantry On The Shakespearean Stage Alice S Venezky

Explore the vibrant world of Elizabethan theater with this lavishly illustrated guide to the costumes and sets of Shakespeare's plays. Venezky's meticulous research and attention to detail bring to life the sumptuous fabrics, intricate designs, and dazzling colors that made the plays of the Bard so unforgettable. With insightful commentary and stunning photographs, this book is a must-read for anyone interested in the art and history of the English stage. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Pageantry in the Shakespearean Theater focuses on political, social, and aesthetic issues to reveal the enormous influence of civic celebration on Renaissance theater. Ranging across Shakespeare's canon and including the work of his fellow playwrights, this collection of twelve essays considers tournaments, royal entries, Lord Mayor's Shows, funeral processions progress entertainments, court masques, and more.

Doctoral Thesis / Dissertation from the year 1998 in the subject Didactics for the subject English - Literature, Works, University of Birmingham (Shakespeare Institute), language: English, abstract: An Introductory chapter justifies the study of staged pageantry in terms of related research and acknowledges the aptness of the pageantic mode for the second tetralogy before glancing at pageantry within the contemporary social context. A brief survey of pageantry in Shakespearean productions from the Restoration to 1900 provides an historical context for the thesis which shows that 'pictorial' pageantry, though vilified and much reduced in scale compared with Victorian literalism, proved resilient even in the face of the New Stagecraft and cinematic realism. From the 1950s the intellectualisation of Shakespeare production which accompanied the emergence of the university-educated 'director, however, harnessed spectacle in the service of an interpretative vision that demanded of audiences a capacity for analogical thinking akin to the 'cognitive eye' of Shakespeare's own audiences. In an era of social flux and intellectual anxiety pageantry has provided a stable vocabulary for interrogating monarchal and political ideologies together with the vocabulary for the examination of the ritual basis of the human condition. Subsequently practitioners have utilised the meta-theatrical concept of pageantry and in a society increasingly defined through the visual emblem have sought to reach beyond 'image 1 towards understanding, thereby reaffirming the need to take theatrical pageantry seriously.

First published in 1951. The edition reprints the second, updated, edition, of 1977. When first published this book quickly established itself as the standard survey of Shakespeare's imagery considered as an integral part of the development of Shakespeare's dramatic art. By illustrating, through the use of examples the progressive stages of Shakespeare's use of imagery, and in relating it to the structure, style and subject matter of the plays, the book throws new light on the dramatist's creative genius. The second edition includes a new preface and an up-to-date bibliography.

This book, first published in 1985, explores the consciousness and the experience of Shakespeare’s audience. First describing the stage’s physical impact, Ralph Berry then goes on to explore the social or tribal consciousness of the audience in certain plays. The title finishes by examining the masque – the salient form of the Jacobean theatre. This title will be of interest to students of literature and theatre studies.

First published in English in 1965, this book discusses the roots and development of the dumb show as a device in Elizabethan drama. The work provides not only a useful manual for those who wish to check the occurrence of dumb shows and the uses to which they are put; it also makes a real contribution to a better understanding of the progress of Elizabethan drama, and sheds new light on some of the lesser known plays of the period.

Publisher Description (unedited publisher data) Shakespeare's history plays have been performed more in recent years than ever before, in Britain, North America, and in Europe. This volume provides an accessible, wide-ranging and informed introduction to Shakespeare's history and Roman plays. It is attentive throughout to the plays as they have been performed over the centuries since they were written. The first part offers accounts of the genre of the history play, of Renaissance historiography, of pageants and masques, and of women's roles, as well as comparisons with history plays in Spain and the Netherlands. Chapters in the second part look at individual plays as well as other Shakespearean texts which are closely related to the histories. The Companion offers a full bibliography, genealogical tables, and a list of principal and recurrent characters. It is a comprehensive guide for students, researchers and theatre-goers alike.

The scripts of the Admiral's Men (later Prince Henry's Men), the Chamberlain's Men (later the King's Men) boy actors and Worcester's/Queen Anne's Men are examined in detail to document the differing costume practices of these companies, especially the ways in which in their earlier days they reconciled visual splendor with the greatest possible economy.

This book studies Shakespeare's changing vision of Rome in the six works where the city serves as a setting. Unlike other scholars treatment, the subject Dr Miola offers a coherent analysis of all the major appearances of Rome in the Shakespeare canon. Shakespeare's recurrent and varied treatment of Rome suggests that a close examination of the city's transformations can teach us much about his development as a playwright and the development of his dramatic vision. The book focuses on Shakespeare's changing conception of the Roman city, its people, and its ideals. Dr Miola examines the symbolic and topographical features that help define the city.