Face-to-Face in Shakespearean Drama最新文献

The Face of Judgement in Measure for Measure 以其人之道还治其人之身

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0007

K. Curran

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Outface and Interface 外观和界面

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0002

Bruce L. R. Smith

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Face to Face, Hand to Hand: Relations of Exchange in Hamlet 面对面，手对手:《哈姆雷特》中的交换关系

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0005

Emily Shortslef

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The Face as Rhetorical Self in Ben Jonson’s Literature “脸”作为本·约翰逊文学中的修辞自我

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0010

A. Shimizu

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‘Everybody’s Somebody’s Fool’: Folie à Deux in Shakespeare’s Love Duets 《每个人都是傻瓜》:莎士比亚爱情二重唱中的二人疯狂

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0003

Lawrence Manley

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Afterword: Theatre and Speculation 后记:戏剧与思索

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0012

William N. West

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Then Face to Face: Timing Trust in Macbeth 面对面:《麦克白》中的时机信任

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0008

Jennifer Waldron

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The Course of Recognition in Cymbeline 《辛白林》的识别过程

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0004

M. Smith

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Hamlet’s Face

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0011

W. B. Worthen

{"title":"Hamlet’s Face","authors":"W. B. Worthen","doi":"10.3366/edinburgh/9781474435680.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435680.003.0011","url":null,"abstract":"This essay asks who, what, or where is Hamlet's face in contemporary theatrical production. As a play, Hamlet evokes theatre as a technology constantly changing in its instrumental, social, and cultural mechanics, implying a tension between theatricality as medium and the evolving, intermediating and often remediating technology of theatre. The remedial thematics of Hamlet are foregrounded in the technicities of contemporary performance, in which the distinctively facemaking activities of the stage—acting—transpire across a range of performance media: the mediation of the trained actor's body, for example, and the mediatized image enabled by simultaneous digital recording and projection. W. B. Worthen draws on Bernard Steigler's account of the human arising in the dynamic of the who and the what—\"the dynamic of the who itself redoubles that of the what: conditioned by the what, it is equally conditional for it.” Worthen also assesses the figure of performance—theatre, acting, masks, and puppets—in Emmanuel Levinas's understanding of the ethical force of the Other. Worthen considers how the technicity of contemporary performance engages the face as an ethical problematic that is inseparable from the technologies native to the stage at a given moment of articulation.","PeriodicalId":136313,"journal":{"name":"Face-to-Face in Shakespearean Drama","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126774633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Bed Tricks and Fantasies of Facelessness: All’s Well that Ends Well and Macbeth in the Dark 床上的诡计和无脸的幻想:结局好一切都好和黑暗中的麦克白

Face-to-Face in Shakespearean Drama Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474435680.003.0006

Devin Byker

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