Explores the extent to which the early modern English stage came to reflect the presence and performances of Italian actresses.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Pamela Allen Brown, Professor of English at the University of Connecticut, has published widely on female playing and jesting in early modern England. In this work, she uses a transnational lens to show how the English stage benefited from the innovations of actresses in the commedia dell'arte, the first professional companies to tour foreign cities, including London. Professor Brown's books include Better a Shrew than a Sheep: Women, Drama and the Culture of Jest in Early Modern England, As You Like It: Texts and Contexts (with Jean E. Howard), and Women Players in Early Modern England: Beyond the All-Male Stage (with Peter Parolin). A founding member of Theater Without Borders, she has also translated stage dialogues by the diva Isabella Andreini in The Lovers' Debates for the Stage: A Bilingual Edition (with Eric Nicholson and Julie Campbell).
Inhaltsangabe
Introduction: 'For what's a play without a woman in it?' 1: The Innamorata Ignites 2: Italianating the Boy 3: Dying to Act: From Bel-Imperia to Juliet 4: Who's It? Acting the Actress in Shakespearean Comedy 5: Hostile Makeovers 6: The Two Faces of Portia 7: 'Let all the dukes and all the devils roar!' Mad Skills of Madwomen Epilogue: Cleopatra's Sweat Appendix A. Notable Innamorata Roles Appendix B. Italian Documents Appendix C. Scenario
Introduction: 'For what's a play without a woman in it?' 1: The Innamorata Ignites 2: Italianating the Boy 3: Dying to Act: From Bel-Imperia to Juliet 4: Who's It? Acting the Actress in Shakespearean Comedy 5: Hostile Makeovers 6: The Two Faces of Portia 7: 'Let all the dukes and all the devils roar!' Mad Skills of Madwomen Epilogue: Cleopatra's Sweat Appendix A. Notable Innamorata Roles Appendix B. Italian Documents Appendix C. Scenario
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