What Is The Main Theme Of The Duchess Of Malfi
Download What Is The Main Theme Of The Duchess Of Malfi PDF/ePub or read online books in Mobi eBooks. Click Download or Read Online button to get What Is The Main Theme Of The Duchess Of Malfi book now. This website allows unlimited access to, at the time of writing, more than 1.5 million titles, including hundreds of thousands of titles in various foreign languages.
The Duchess of Malfi
Author: John Webster
language: en
Publisher: Manchester University Press
Release Date: 1997-06-15
More widely studied and more frequently performed than ever before, John Webster's The Duchess of Malfi is here presented in an accessible and thoroughly up-to-date edition. Based on the Revels Plays text, the notes have been augmented to cast further light both on Webster's amazing dialogue and on the stage action. An entirely new introduction sets the tragedy in the context of pre-Civil War England and gives a revealing view of its imagery and dramatic action. From its well-documented early performances to the two productions seen in the West End of London in the 1995-96 season, a stage history gives an account of the play in performance. Students, actors, directors and theatre-goers will all find here a reappraisal of Webster's artistry in the greatest age of English theatre, which highlights why it has lived on stage with renewed force in the last decades of the twentieth century.
The Duchess of Malfi
The Duchess of Malfi is a Jacobean revenge tragedy written by English dramatist John Webster in 1612-1613.
Themes and Conventions of Elizabethan Tragedy
The first edition of this book formed the basis of the modern approach to Elizabethan poetic drama as a performing art, an approach pursued in subsequent volumes by Professor Bradbrook. Its influence has also extended to other fields; it has been studied by Grigori Kozintsev and Sergei Eisenstein for instance. Conventions of open stage, stylized plot and characters, and actors' traditions of presentation are realted to the special expectations which a rhetorical training produced in the listeners. The general discussion of tragic conventions is followed by individual studies of how these were used by Marlowe, Tourneur, Webster and Middleton. For this second edition, Professor Bradbrook has revised her material and written a new introduction. A new final chapter on performance and characterization describes the conventions of role-playing. Dramatists before and after Shakespeare are compared with him in their methods of showing a complex identity on stage. This chapter also considers the work of Marston, Chapman and Ford in relation to the themes and conventions studied in earlier chapters.