Clowning and Authorship in Early Modern Theatre

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9781107036574: Clowning and Authorship in Early Modern Theatre
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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 epitomized a theatre that was heterogeneous, improvised, 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 organize: the author, and the actor.

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Book Description:

Richard Preiss presents a lively and provocative study of how the early modern stage clown defined - and changed - theatrical experience. Recovering the interactive entertainments with which comedians including Richard Tarlton, Will Kemp and Robert Armin engaged audiences, he draws new conclusions about how early modern theatre negotiated its own textuality.

About the Author:

Richard Preiss is Associate Professor of English at the University of Utah, where he teaches undergraduate and graduate courses on Shakespeare, early modern drama, and Renaissance literature. He has edited The Tempest: Shakespeare in Performance (2008), and his essays have appeared in publications including Renaissance Drama, Shakespeare Yearbook, and From Performance to Print in Shakespeare's England (2005). He is also a contributor to the forthcoming collections The Cambridge Guide to the Worlds of Shakespeare and Early Modern Theatricality.

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Book Description CAMBRIDGE UNIVERSITY PRESS, United Kingdom, 2016. Hardback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. 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 epitomized a theatre that was heterogeneous, improvised, 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 organize: the author, and the actor. Seller Inventory # APC9781107036574

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Book Description CAMBRIDGE UNIVERSITY PRESS, United Kingdom, 2016. Hardback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.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 epitomized a theatre that was heterogeneous, improvised, 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 organize: the author, and the actor. Seller Inventory # APC9781107036574

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Book Description Cambridge University Press. Hardcover. Condition: New. 295 pages. Dimensions: 9.1in. x 6.2in. x 1.0in.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 epitomized a theatre that was heterogeneous, improvised, 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 clowns presence decayed into print, he bequeathed the new categories around which theatre would organize: the author, and the actor. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Hardcover. Seller Inventory # 9781107036574

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