Playhouses 電子書籍

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商品	説明	価格
Shakespearean Playhouses: A History of English Theatres from the Beginnings to the Restoration【電子書籍】[ Joseph Quincy Adams ] 楽天Kobo電子書籍ストア	＜p＞THE method of dramatic representation in the time of Shakespeare has long received close study. Among those who have more recently devoted their energies to the subject may be mentioned W.J. Lawrence, T.S. Graves, G.F. Reynolds, V.E. Albright, A.H. Thorndike, and B. Neuendorff, each of whom has embodied the results of his investigations in one or more noteworthy volumes. But the history of the playhouses themselves, a topic equally important, has not hitherto been attempted. If we omit the brief notices of the theatres in Edmond Malone's The Plays and Poems of William Shakespeare (1790) and John Payne Collier's The History of English Dramatic Poetry (1831), the sole book dealing even in part with the topic is T.F. Ordish's The Early London Theatres in the Fields. This book, however, though good for its time, was written a quarter of a century ago, before most of the documents relating to early theatrical history were discovered, and it discusses only six playhouses. The present volume takes advantage of all the materials made available by the industry of later scholars, and records the history of seventeen regular, and five temporary or projected, theatres. The book is throughout the result of a first-hand examination of original sources, and represents an independent interpretation of the historical evidences. As a consequence of this, as well as of a comparison (now for the first time possible) of the detailed records of the several playhouses, many conclusions long held by scholars have been set aside. I have made no systematic attempt to point out the cases in which I depart from previously accepted opinions, for the scholar will discover them for himself; but I believe I have never thus departed without being aware of it, and without having carefully weighed the entire evidence. Sometimes the evidence has been too voluminous or complex for detailed presentation; in these instances I have had to content myself with reference by footnotes to the more significant documents bearing on the point.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	640円
Shakespearean Playhouses【電子書籍】[ Joseph Quincy Adams ] 楽天Kobo電子書籍ストア	＜p＞PREFACE＜/p＞＜p＞THE method of dramatic representation in the time of Shakespeare has long received close study. Among those who have more recently devoted their energies to the subject may be mentioned W.J. Lawrence, T.S. Graves, G.F. Reynolds, V.E. Albright, A.H. Thorndike, and B. Neuendorff, each of whom has embodied the results of his investigations in one or more noteworthy volumes. But the history of the playhouses themselves, a topic equally important, has not hitherto been attempted. If we omit the brief notices of the theatres in Edmond Malone's The Plays and Poems of William Shakespeare (1790) and John Payne Collier's The History of English Dramatic Poetry (1831), the sole book dealing even in part with the topic is T.F. Ordish's The Early London Theatres in the Fields. This book, however, though good for its time, was written a quarter of a century ago, before most of the documents relating to early theatrical history were discovered, and it discusses only six playhouses. The present volume takes advantage of all the materials made available by the industry of later scholars, and records the history of seventeen regular, and five temporary or projected, theatres. The book is throughout the result of a first-hand examination of originalviii sources, and represents an independent interpretation of the historical evidences. As a consequence of this, as well as of a comparison (now for the first time possible) of the detailed records of the several playhouses, many conclusions long held by scholars have been set aside. I have made no systematic attempt to point out the cases in which I depart from previously accepted opinions, for the scholar will discover them for himself; but I believe I have never thus departed without being aware of it, and without having carefully weighed the entire evidence. Sometimes the evidence has been too voluminous or complex for detailed presentation; in these instances I have had to content myself with reference by footnotes to the more significant documents bearing on the point.＜br /＞ In a task involving so many details I cannot hope to have escaped errorsーerrors due not only to oversight, but also to the limitations of my knowledge or to mistaken interpretation. For such I can offer no excuse, though I may request from my readers the same degree of tolerance which I have tried to show other laborers in the field. In reproducing old documents I have as a rule modernized the spelling and the punctuation, for in a work of this character there seems to be no advantage in preserving the accidents and perversities of early scribes and printers. I have also consistently altered the dates when the Old Style conflicted with our present usage.ix＜br /＞ I desire especially to record my indebtedness to the researches of Professor C.W. Wallace, the extent of whose services to the study of the Tudor-Stuart drama has not yet been generally realized, and has sometimes been grudgingly acknowledged; and to the labors of Mr. E.K. Chambers and Mr. W.W. Greg, who, in the Collections of The Malone Society, and elsewhere, have rendered accessible a wealth of important material dealing with the early history of the stage.＜br /＞ Finally, I desire to express my gratitude to Mr. Hamilton Bell and the editor of The Architectural Record for permission to reproduce the illustration and description of Inigo Jones's plan of the Cockpit; to the Governors of Dulwich College for permission to reproduce three portraits from the Dulwich Picture Gallery, one of which, that of Joan Alleyn, has not previously been reproduced; to Mr. C.W. Redwood, formerly technical artist at Cornell University, for expert assistance in making the large map of London showing the sites of the playhouses, and for other help generously rendered; and to my colleagues, Professor Lane Cooper and Professor Clark S. Northup, for their kindness in reading the proofs.＜br /＞ Joseph Quincy Adams＜br /＞ Ithaca, New York＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	319円
Foreign Opera at the London Playhouses From Mozart to Bellini【電子書籍】[ Christina Fuhrmann ] 楽天Kobo電子書籍ストア	＜p＞In the early nineteenth century over forty operas by foreign composers, including Mozart, Rossini, Weber and Bellini, were adapted for London playhouses, often appearing in drastically altered form. Such changes have been denigrated as 'mutilations'. The operas were translated into English, fitted with spoken dialogue, divested of much of their music, augmented with interpolations and frequently set to altered libretti. By the end of the period, the radical changes of earlier adaptations gave way to more faithful versions. In the first comprehensive study of these adaptations, Christina Fuhrmann shows how integral they are to our understanding of early nineteenth-century opera and the transformation of London's theatrical and musical life. This book reveals how these operas accelerated repertoire shifts in the London theatrical world, fostered significant changes in musical taste, revealed the ambiguities and inadequacies of copyright law and sparked intense debate about fidelity to the original work.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	4,486円
The Censorship of Eighteenth-Century Theatre Playhouses and Prohibition, 1737?1843【電子書籍】楽天Kobo電子書籍ストア	＜p＞This collection reveals the wide-ranging impact of the Stage Licensing Act of 1737 on literary and theatrical culture in Georgian Britain. Demonstrating the differing motivations of the state in censoring public performances of plays after the Stage Licensing Act of 1737 and until the Theatres Act 1843, chapters cover a wide variety of theatrical genres across a century and show how the mechanisms of formal censorship operated under the Lord Chamberlain's Examiner of Plays. They also explore the effects of informal censorship, whereby playwrights, audiences and managers internalized the censorship regime. As such, the volume moves beyond a narrow focus on erasures and emendations visible on manuscripts to elucidate censorship's wide-ranging significance across the long eighteenth century. Demonstrating theatre archives' potency as a resource for historical research, this volume is of exceptional value for researchers interested in the evolving complexities of Georgian society, its politics and mores.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	11,750円
Modern Playhouses An Architectural History of Britain's New Theatres, 1945-1985【電子書籍】[ Alistair Fair ] 楽天Kobo電子書籍ストア	＜p＞Modern Playhouses is the first detailed study of the major programme of theatre-building which took place in Britain between the 1950s and the 1980s. Drawing on a vast range of archival material - much of which had never previously been studied by historians - it sets architecture in a wide social and cultural context, presenting the history of post-war theatre buildings as a history of ideas relating not only to performance but also to culture, citizenship, and the modern city. During this period, more than sixty major new theatres were constructed in locations from Plymouth to Inverness, Aberystwyth to Ipswich. The most prominent example was the National Theatre in London, but the National was only the tip of the iceberg. Supported in many cases by public subsidies, these buildings represented a new kind of theatre, conceived as a public service. Theatre was ascribed a transformative role, serving as a form of 'productive' recreation at a time of increasing affluence and leisure. New theatres also contributed to debates about civic pride, urbanity, and community. Ultimately, theatre could be understood as a vehicle for the creation of modern citizens in a consciously modernizing Britain. Yet while recognizing, as contemporaries did, that the new theatres of the post war decades represented change, Modern Playhouses also asks how radically different these buildings really were, and what their 'mainstream' architecture reveals of the history of modern British architecture, and of post-war Britain.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	5,333円
Lowe and Le Breton mysteries - Death at the Playhouses【電子書籍】[ Stuart Douglas ] 楽天Kobo電子書籍ストア	＜p＞Two ageing actors attempt to solve their second murder after their famous co-star is found dead in a doorway outside the Leeds Playhouse. This sequel to Death at the Dress Rehearsal is a witty, fun whodunnit, perfect for fans of The Thursday Murder Club and Death & Croissants. In between filming seasons of Floggit and Leggit!, ageing actors Edward Lowe and John Le Breton sign up for short run at the Leeds Playhouse, lured by the promise that the play will transfer to the Stadsschouwburg ? the Amsterdam Playhouse. Once in Leeds, they discover they have been invited to join for two reasons ? because the company manager is keen to take advantage of the publicity surrounding Floggit and Leggit! (now a massive hit) and because Sir Nathaniel Thompson, the much-lauded star of the show and knight of the realm, has been sacked for drunkenness and failing to turn up for work. John fears an awkward scene, should Thompson ? who he knew during the war ? return to reclaim his job, but when Thompson's body is found, bludgeoned to death in a nearby alleyway, this ceases to be an issue. Once more, the elderly thespian sleuths decide to investigate.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	1,280円
Shakespearean Playhouses - History of English Theatres【電子書籍】[ Joseph Quincy Adams ] 楽天Kobo電子書籍ストア	＜p＞The method of dramatic representation in the time of Shakespeare has long received close study. Among those who have more recently devoted their energies to the subject may be mentioned W.J. Lawrence, T.S. Graves, G.F. Reynolds, V.E. Albright, A.H. Thorndike, and B. Neuendorff, each of whom has embodied the results of his investigations in one or more noteworthy volumes. But the history of the playhouses themselves, a topic equally important, has not hitherto been attempted. If we omit the brief notices of the theatres in Edmond Malone's The Plays and Poems of William Shakespeare (1790) and John Payne Collier's The History of English Dramatic Poetry (1831), the sole book dealing even in part with the topic is T.F. Ordish's The Early London Theatres in the Fields. This book, however, though good for its time, was written a quarter of a century ago, before most of the documents relating to early theatrical history were discovered, and it discusses only six playhouses. The present volume takes advantage of all the materials made available by the industry of later scholars, and records the history of seventeen regular, and five temporary or projected, theatres. The book is throughout the result of a first-hand examination of originalviii sources, and represents an independent interpretation of the historical evidences. As a consequence of this, as well as of a comparison (now for the first time possible) of the detailed records of the several playhouses, many conclusions long held by scholars have been set aside. I have made no systematic attempt to point out the cases in which I depart from previously accepted opinions, for the scholar will discover them for himself; but I believe I have never thus departed without being aware of it, and without having carefully weighed the entire evidence.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	100円
Arizona on Stage Playhouses, Plays, and Players in the Territory, 1879-1912【電子書籍】[ Thomas P. Collins ] 楽天Kobo電子書籍ストア	＜p＞Most of the books that have been written about territorial Arizona and the southwest focus on the Indian Wars, outlaws, violent crimes, gambling, saloons, and bawdy houses. They foster and perpetuate the notion that southwest mining towns in the nineteenth century were little more than battlefields and lawless dens of vice and corruption. This is only half true. The lawyers, judges, doctors, army officers, bankers, journalists, teachers, and businessmen and women who actually ran the towns were educated and culturally sophisticated people who yearned for the niceties of Atlantic Coast culture. They built churches, founded choral societies and amateur theater troupes, and built libraries, multi-purpose halls, and “opera houses” where talented professional actors and their companies performed both the classics and contemporary melodramas, operas, minstrels shows, etc. These men and women spent a considerable amount of their leisure time in the theater, often as much as three nights per week. The plays they attended reflected their social and moral values, their taste, and their worship of theatrical celebrities. Their attendance and financial support of the theater was a measure of their civic pride and social consciousness. This popular history will help to balance the image of the Wild West.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	2,138円
‘Public’ and ‘Private’ Playhouses in Renaissance England: The Politics of Publication【電子書籍】[ Eoin Price ] 楽天Kobo電子書籍ストア	＜p＞At the start of the seventeenth century a distinction emerged between 'public', outdoor, amphitheatre playhouses and 'private', indoor, hall venues. This book is the first sustained attempt to ask: why? Theatre historians have long acknowledged these terms, but have failed to attest to their variety and complexity. Assessing a range of evidence, from the start of the Elizabethan period to the beginning of the Restoration, the book overturns received scholarly wisdom to reach new insights into the politics of theatre culture and playbook publication. Standard accounts of the 'public' and 'private' theatres have either ignored the terms, or offered insubstantial explanations for their use. This book opens up the rich range of meanings made available by these vitally important terms and offers a fresh perspective on the way dramatists, theatre owners, booksellers, and legislators, conceived the playhouses of Renaissance London.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	8,507円
Common Understandings, Poetic Confusion Playhouses & Playgoers in Elizabethan England【電子書籍】[ William N. West ] 楽天Kobo電子書籍ストア	＜p＞＜em＞＜strong＞A new account of playgoing in Elizabethan England, in which audiences participated as much as performers.＜/strong＞＜/em＞＜/p＞＜p＞What if going to a play in Elizabethan England was more like attending a football match than a Broadway showーor playing in one? In ＜em＞Common Understandings, Poetic Confusion＜/em＞, William N. West proposes a new account of the kind of participatory entertainment expected by the actors and the audience during the careers of Shakespeare and his contemporaries. West finds surprising descriptions of these theatrical experiences in the figurative language of early modern players and playgoersーincluding understanding, confusion, occupation, eating, and fighting. Such words and ways of speaking are still in use today, but their earlier meanings, like that of theater itself, are subtly, importantly different from our own. Playing was not confined to the actors on the stage but filled the playhouse, embracing audiences and performers in collaborative experiences that did not belong to any one alone but to the assembled, various crowd. What emerged in playing was a kind of thinking and feeling distributed across persons and times that were otherwise distinct. Thrown apples, smashed bottles of beer, and lumbering bearsーthese and more gave verbal shape to the physical interactions between players and playgoers, creating circuits of exchange, production, and consumption.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	2,112円
Shakespeare's Two Playhouses Repertory and Theatre Space at the Globe and the Blackfriars, 1599?1613【電子書籍】[ Sarah Dustagheer ] 楽天Kobo電子書籍ストア	＜p＞In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels 'public' for the Globe and 'private' for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちらをクリックして下さい。 ※このページからは注文できません。	4,486円