The Play Within the Play: The Performance of Meta-theatre and Self-reflectionGerhard Fischer, Bernhard Greiner The thirty chapters of this innovative international study are all devoted to the topic of the play within the play. The authors explore the wide range of aesthetic, literary-theoretical and philosophical issues associated with this rhetorical device, not only in terms of its original meta-theatrical setting - from the baroque idea of a theatrum mundi onward to contemporary examples of postmodern self-referential dramaturgy - but also with regard to a variety of different generic applications, e.g. in narrative fiction, musical theatre and film. The authors, internationally recognized specialists in their respective fields, draw on recent debates in such areas as postcolonial studies, game and systems theories, media and performance studies, to analyze the specific qualities and characteristics of the play within the play: as ultimate affirmation of the 'self' (the 'Hamlet paradigm'), as a self-reflective agency of meta-theatrical discourse, and as a vehicle of intermedial and intercultural transformation. The challenging study, with its underlying premise of play as a key feature of cultural anthropology and human creativity, breaks new ground by placing the play within the play at the centre of a number of intersecting scholarly discourses on areas of topical concern to scholars in the humanities. |
From inside the book
Results 1-5 of 18
Page v
... Gougenot, Scudéry and Corneille as Self-Referentialists in Paris, 1628-1635/36 77 Manfred Jurgensen Rehearsing the Endgame: Max Frisch's Biography: A Play Barnard Turner 101 Tom Stoppard's The Real Inspector Hound (1968) and The Real ...
... Gougenot, Scudéry and Corneille as Self-Referentialists in Paris, 1628-1635/36 77 Manfred Jurgensen Rehearsing the Endgame: Max Frisch's Biography: A Play Barnard Turner 101 Tom Stoppard's The Real Inspector Hound (1968) and The Real ...
Page 77
... Gougenot , Scudéry and Corneille as Self - Referentialists in Paris , 1628-35 / 36 The Baroque period abounds in dramatists who held a mirror up their own profession and to the arts of the stage as readily as to nature in Hamlet's ...
... Gougenot , Scudéry and Corneille as Self - Referentialists in Paris , 1628-35 / 36 The Baroque period abounds in dramatists who held a mirror up their own profession and to the arts of the stage as readily as to nature in Hamlet's ...
Page 78
... Gougenot's early on and Scudéry's prior to year's end . Indeed , in all likeli- hood , Gougenot's tragi - comédie , which is about – and was written for and 5 played by – Bellerose's troupe at the Hôtel de 78 John Golder.
... Gougenot's early on and Scudéry's prior to year's end . Indeed , in all likeli- hood , Gougenot's tragi - comédie , which is about – and was written for and 5 played by – Bellerose's troupe at the Hôtel de 78 John Golder.
Page 79
... Gougenot's . But , if it bears a certain formal similarity to Gougenot's – Joan Crow argues that the dramatist seeks to give it a more orthodox structure 6 – it does present a timid technical ad- vance . Scudéry's inner play is ...
... Gougenot's . But , if it bears a certain formal similarity to Gougenot's – Joan Crow argues that the dramatist seeks to give it a more orthodox structure 6 – it does present a timid technical ad- vance . Scudéry's inner play is ...
Page 80
... Gougenot's or Scudéry's comparatively artless efforts . Moreover , L'Illusion is a ' play within a play within a play ' – that's about , on behalf of and for the theatre . Performed at the Marais , in late 1635 - early 1636 , by ...
... Gougenot's or Scudéry's comparatively artless efforts . Moreover , L'Illusion is a ' play within a play within a play ' – that's about , on behalf of and for the theatre . Performed at the Marais , in late 1635 - early 1636 , by ...
Contents
3 | |
15 | |
27 | |
37 | |
47 | |
59 | |
61 | |
77 | |
19GFHaas | 267 |
19Sec IV | 283 |
20GFFeldman | 285 |
21GFBlackman | 297 |
22GFFrantzi | 307 |
22Sec V1 | 319 |
23GFNoble | 321 |
24GFBEWLEY | 335 |
9GFJurgensen | 101 |
10GFTurner | 113 |
11GFLandfester | 129 |
11Sec II2 | 143 |
12GFLevy | 145 |
13GFKaynar | 167 |
14GFCaspi | 189 |
14Sec III | 201 |
15GFZipfel 1 | 203 |
16GFHerzmann | 221 |
17Schneider | 237 |
18GFFischer | 249 |
25GFBirkenhauer | 347 |
25Sec V2 | 359 |
26GFGreber | 361 |
27GFABBATE | 377 |
28GFWoodgate | 393 |
28Sec V3 | 403 |
29GFMehigan | 405 |
30GFHonold | 421 |
31GFGarde | 431 |
32GFContributors | 447 |
33GFINDEX | 455 |
Other editions - View all
The Play Within the Play: The Performance of Meta-theatre and Self-reflection Gerhard Fischer,Bernhard Greiner No preview available - 2007 |
Common terms and phrases
actors aesthetic Ariadne auf Naxos audience becomes Bidermann Brecht Cenodoxus century characters colonial comedy comic context Così fan tutte critical cultural death device différance drama dramaturgy Eugene Onegin fictional figure film frame Frankfurt/Main French Frisch's function Genet genre German Gougenot's Hamlet Hanoch Levin Heiner Müller Heinrich Heinrich von Kleist historical Hofmannsthal illusion implied spectator inner play irony Israeli Kafka Kleist Kürmann levels Levin literary literature London meaning Medea metadrama metaphor metatheatrical mirror modern Montdory murder musical myth narrative narrator Nissim Aloni Onegin onstage opera opera seria Ostermaier outer play Paris performance play-within-the-play players playwright plot political postmodern present production protagonist Queen reality references reflection rehearsal representation role Romantic scene Scudéry's self-referential self-reflexive sense Shakespeare social song Spiel stage Stoppard story strategy structure theatre theatrical tion Tom Stoppard tradition tragedy tragic translation troupe truth University words
Popular passages
Page 16 - Die romantische Poesie ist eine progressive Universalpoesie. Ihre Bestimmung ist nicht bloß, alle getrennten Gattungen der Poesie wieder zu vereinigen und die Poesie mit der Philosophie und Rhetorik in Berührung zu setzen. Sie will und soll auch Poesie und Prosa, Genialität und Kritik, Kunstpoesie und Naturpoesie bald mischen, bald verschmelzen, die Poesie lebendig und gesellig und das Leben und die Gesellschaft poetisch machen...
Page 34 - And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man's dominion in the East. Here was I, the white man with his gun, standing in front of...
Page 406 - Ich gestehe frei: die Erinnerung des DAVID HUME war eben dasjenige, was mir vor vielen Jahren zuerst den dogmatischen Schlummer unterbrach und meinen Untersuchungen im Felde der speculativen Philosophie eine ganz andere Richtung gab...
Page 25 - Literature becomes progressively more differentiated from the discourse of ideas, and encloses itself within a radical intransitivity; it becomes detached from all the values that were able to keep it in general circulation during the Classical age (taste, pleasure, naturalness, truth), and creates within its own space everything that will ensure a ludic denial of them...
Page 126 - And here's my breast, strike home! Rip up my bosom; there thou shalt behold A heart in which is writ the truth I speak.
Page 34 - For it is the condition of his rule that he shall spend his life in trying to impress the ' natives,' and so in every crisis he has got to do what the ' natives ' expect of him. He wears a mask, and his face grows to fit it.
Page 25 - ... genres comme formes ajustées à un ordre de représentations, et devient pure et simple manifestation d'un langage qui n'a pour loi que d'affirmer - contre tous les autres discours - son existence escarpée; elle...
Page 6 - Taint not thy mind, nor let thy soul contrive Against thy mother aught; leave her to heaven, And to those thorns that in her bosom lodge To prick and sting her.
Page 10 - To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this: the play's the thing Wherein I'll catch the conscience of the king.
Page 25 - ... breaks with the whole definition of genres as forms adapted to an order of representations, and becomes merely a manifestation of a language which has no other law than that of...