Antes do início; depois do final: onde as peças de teatro iniciavam e terminavam?

Autores/as

  • Tiffany Stern University of Birmingham

DOI:

https://doi.org/10.5902/2176148564648

Palabras clave:

Primeira modernidade, Encenação, Epitexto, Textos teatrais

Resumen

Este ensaio explora os eventos encenatórios que aconteciam antes que a performance da peça iniciava bem como os eventos de cena que aconteciam depois do final da peça teatral. Indaga se tais elementos, que Gerard Genette chama de ‘epitextos’, são importantes o bastante para a encenação, o texto a edição e/ou sentido como partes constituintes do drama enquanto tal. Concentrando-se sobre o toque de trombeta que anunciava o ‘início’ de uma peça, sobre a oração, a música e o clowning, assim como sobre o anúncio que se seguia ao final da ‘peça’, concebida de modo amplo. Deveriam tais elementos ser adicionados aos textos das peças (playtexts)? O que é, em última instância, uma ‘peça teatral’, e quando de fato ela inicia e quando ela termina?

Descargas

Los datos de descargas todavía no están disponibles.

Biografía del autor/a

Tiffany Stern, University of Birmingham

Tiffany Stern, FBA, is Professor of Shakespeare and Early Modern Drama at The Shakespeare Institute, University of Birmingham. Her books are Rehearsal from Shakespeare to Sheridan (2000), Making Shakespeare (2004), Shakespeare in Parts (with Simon Palfrey, 2007) and Documents of Performance in Early Modern England (2009). She has edited 5 plays, put together 2 scholarly editions, and written over 60 chapters and articles on sixteenth- to eighteenth-century drama, Shakespeare, theatre history, book history, and editing. General editor of New Mermaids Plays and Arden Shakespeare 4, her current projects are a book on Shakespeare’s product placement and an Arden 4 edition of The Tempest. She was elected Fellow of the British Academy in 2019.

Citas

Anônimo, Lady Alimony (1659).

Anônimo, Lord have Mercy upon us, or the Visitation at Oxford (1648).

Anônimo, The Merrie Conceited Jests of George Peele (1627).

Anônimo, New custome (1573).

Anônimo, Two Wise Men And All The Rest Fooles (1619).

Robert Armin, Quips upon Questions (1600).

Francis Beaumont and John Fletcher, Comedies and Tragedies (1647).

Richard Brathwait, Whimzies (1631).

John Brinsley, The Christians cabala (1662).

James Arthur Brownlow, The Last Trumpet (Stuyvesant, N.Y.: Pendragon Press, 1996).

E. K. Chambers, The Elizabethan Stage, 4 vols (Oxford: Clarendon Press, 1923).

Henry Chettle, Kind-Harts Dreame (1593).

J. P. Cutts, ‘New Findings with Regard to the 1624 Protection List’,

Shakespeare Survey, 19 (1967), 101-7.

[Robert Daborne/Christopher Brooke], Ghost of Richard the Third (1614).

John Davies, ‘In Cosmum’ in Epigrammes and elegies (1599).

Thomas Dekker, The guls horne-booke (1609).

Thomas Dekker, The Shomakers Holiday (1600).

John Earle, Micro-cosmographie (1628).

John Earle, Micro-cosmographie … The fift edition much enlarged (1629).

Henry Fitzgeffrey, Satyres and Satyricall Epigrams: The Third Booke of Humours: Intituled Notes from Black-Fryers (1617).

John Fletcher and William Shakespeare, Two Noble Kinsmen (1634).

Thomas Freeman, Rubbe and a great cast (1614).

Gerard Genette, Paratexts: Thresholds of Interpretation trans. Jane E. Lewin (Cambridge: CUP, 1997).

Robert Greene, Alphonsus, King of Aragon (1599).

J. O., Halliwell-Phillipps, Outlines of the Life of Shakespeare, 2 vols (London: Longmans, Green, and Co., 1887).

Michael Hattaway, ‘Dating As You Like It and the Problems of “As the Dial Hand Tells O’er”’, Shakespeare Quarterly, 60 (2009), 154-167.

Philip Henslowe, Diary ed. R. A. Foakes (Cambridge: CUP, 2002).

Paul Hentzner, A Journey into England in the year M.D.XC.VIII. trans. Horace Walpole (1757).

Trevor Herbert ed., The British Brass Band (Oxford: Oxford Uni-versity Press, 2000).

Thomas Heywood, The foure prentises of London (1615).

Peter Holland, ‘Beginning in the Middle’, in Proceedings of the Bri-tish Academy: Lectures and Memoirs (Oxford: OUP, 2001), 127-55.

Ben Jonson, Cynthias Revels in The Works (1616).

Ben Jonson, Every man out of his humor (1616).

Richard Knolles, The Six Bookes of a Commonweale written by I.

Bodin … out of the French and Latine Copies, done into English (1606).

Cart de Lafontaine and Henry Thomas, The king’s musick; a transcript of records relating to music and musicians (1460-1700) (London:

Novello, 1909).

John H. Long, Shakespeare’s use of Music: Histories and Tragedies (Gainesville: University of Florida Press, 1971).

D. Lupton, London and the Countrey Carbonadoed (1632).

Gordon McMullan, John Jowett, Suzanne Gossett, ‘General Editors’

Preface’, Philip Massinger’s The Renegado ed. Michael Neill (London: Methuen, 2010).

Anthony Munday et al, The Book of Sir Thomas More (Oxford: Malone, 1911)

John Orrell, ‘The London Stage in the Florentine Correspondence 1604-18’, Theatre Research International, 3 (1977-8), 155-81.

Thomas Platter, Travels in England (1599) trans. Clare Williams (London: J. Cape, 1937), 166.

William Percy, The Cuck-Queanes and Cuckolds Errants (London: Shakspeare press, 1824).

Thomas Preston, Cambises (1570)

William Rankins, The Mirrour of Monsters (1587), Cib.

William Shakespeare, Complete Works, ed. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2007).

William Shakespeare, Hamlet (1604)

William Shakespeare, Pericles (1609)

William H. Sherman, ‘The beginning of “The End”: terminal paratext and the birth of print culture’ in Renaissance Paratexts ed. Helen Smith, and Louise Wilson (Cambridge: CUP, 2011)

Simon Smith, ‘“Flourish. Enter the King sicke”: Exploring Kingship through Musical Spectacle in Richard III’, in Zeitsprünge: Forschungen zur Frühen Neuzeit 17 (Frankfurt: Klostermann, 2013), 101-19

Tiffany Stern, ‘“The Curtain is Yours!”, Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing ed. Helen

Ostovich, Holger Schott Syme and Andrew Griffin (Aldershot: Ashgate)

Tiffany Stern, ‘Epilogues, Prayers after Plays, and Shakespeare’s 2 Henry IV’, Theatre Notebook, 64 (2010), 122-9

Tiffany Stern, ‘Prologues, Epilogues, Interim Entertainments’, Documents of Performance (Cambridge: CUP, 2009)

Tiffany Stern, Rehearsal from Shakespeare to Sheridan (Oxford: Clarendon Press, 2000)

Richard Tarlton, Tarltons Jeasts (1638)

Gary Taylor and John Jowett, ‘The Structure of Performance ActIntervals in the London Theatres, 1576–1642’ in Shakespeare Reshaped, 1606-1623 (Oxford: Clarendon Press, 1993).

Stanley Wells and Gary Taylor, ‘General Introduction’, The Oxford

Shakespeare (Oxford: OUP, 1986)

Robert Wilson, The three ladies of London (1584)

Robert Wilson, The Three Lordes and Three Ladies of London (1590) MS Ashmole 857

Descargas

Publicado

2021-03-11 — Actualizado el 2022-08-01

Versiones

Cómo citar

Stern, T. (2022). Antes do início; depois do final: onde as peças de teatro iniciavam e terminavam?. Letras, 13–38. https://doi.org/10.5902/2176148564648 (Original work published 11 de marzo de 2021)

Número

Edição Especial - 2/2020: Teatro Elisabetano e Jacobino: estudos textuais, teatrais e críticos

Sección

Artigos

Licencia

Derechos de autor 2021 Letras

Creative Commons License

Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.

Ficam concedidos a Letras todos os direitos autorais referentes aos trabalhos publicados. Os originais não devem ter sido publicados ou submetidos simultaneamente a outro periódico e não serão devolvidos. Em virtude de aparecerem nesta revista de acesso público, os artigos são de uso gratuito, com atribuições próprias, em aplicações educacionais e não comerciais.