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008 161018s2016 enka fob 001 0 eng d
020 |a9781317163305|q(e-book)
020 |a1317163303
020 |a9781317163299|q(ePub ebook)
020 |a131716329X|q(ePub ebook)
020 |a9781317163282|q(Mobipocket ebook)
020 |a1317163281|q(Mobipocket ebook)
020 |a9781315573014|q(ebook)
020 |a1315573016|q(ebook)
020 |z9781409427018|q(hbk.)
035 |a(OCoLC)1100676004
035 |a(OCoLC-P)1100676004
040 |aOCoLC-P|beng|erda|epn|cOCoLC-P
041 |aeng
049 |aTürk Tarih Kurumu Kütüphanesi
050 4|aPN2590.A93
072 7|aLIT|x000000|2bisacsh
072 7|aDSBD|2bicssc
082 04|a792.0942/09032|223
245 00|aCommunity-making in early Stuart theatres :|bstage and audience /|cedited by Roger D. Sell, Anthony W. Johnson, Helen Wilcox.
264 1|aLondon :|bRoutledge,|c2016.
300 |a1 online resource :|billustrations (black and white)
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
520 |aTwenty-two leading experts on early modern drama collaborate in this volume to explore three closely interconnected research questions. To what extent did playwrights represent dramatis personae in their entertainments as forming, or failing to form, communal groupings? How far were theatrical productions likely to weld, or separate, different communal groupings within their target audiences? And how might such bondings or oppositions among spectators have tallied with the community-making or -breaking on stage? Chapters in Part One respond to one or more of these questions by reassessing general period trends in censorship, theatre attendance, forms of patronage, playwrights' professional and linguistic networks, their use of music, and their handling of ethical controversies. In Part Two, responses arise from detailed re-examinations of particular plays by Shakespeare, Chapman, Jonson, Beaumont and Fletcher, Cary, Webster, Middleton, Massinger, Ford, and Shirley. Both Parts cover a full range of early-Stuart theatre settings, from the public and popular to the more private circumstances of hall playhouses, court masques, women's drama, country-house theatricals, and school plays. And one overall finding is that, although playwrights frequently staged or alluded to communal conflict, they seldom exacerbated such divisiveness within their audience. Rather, they tended toward more tactful modes of address (sometimes even acknowledging their own ideological uncertainties) so that, at least for the duration of a play, their audiences could be a community within which internal rifts were openly brought into dialogue.
588 |aOCLC-licensed vendor bibliographic record.
650 0|aTheater audiences|zEngland|xHistory|y17th century.
650 0|aTheater and society|zEngland|xHistory|y17th century.
650 0|aTheater|xPolitical aspects|zEngland|xHistory|y17th century.
650 0|aEnglish drama|y17th century|xHistory and criticism.
650 7|aLITERARY CRITICISM / General|2bisacsh
700 1 |aJohnson, Anthony W.,|eeditor.
700 1 |aSell, Roger D.,|eeditor.
700 1 |aWilcox, Helen,|eeditor.
856 40|3Taylor & Francis|uhttps://www.taylorfrancis.com/books/9781315573014
856 42|3OCLC metadata license agreement|uhttp://www.oclc.org/content/dam/oclc/forms/terms/vbrl-201703.pdf
901 |aTaylor & Francis