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... in author, period, genre and reader/audience. 12. See, for example, Walter Kerr, 'Making a cult of confusion', Horizon, 5 (i), September 1962, pp. 33–41, and Esslin's reply, 'Walter Kerr and the Absurd', Tulane Drama Review, 7 (iii) ...
... play — The meaning of The rose tattoo — Facts about me — Foreword to Camino real — Afterword to Camino real — Critic says 'evasion,' writer says 'mystery' — Person-to-person — The past, present, and the perhaps — The world I live in — ...
... in Author- itie , " will " len [ d ] wives weapons to fight against their husbands , " will " delude the Commanalty , " and is " an incontinent Tel - tale " ( F3r - v ) . The mixture of antifeminist diatribe with post - Reformation ...
... in Author's Pen and Actor's Voice : Playing and Writing in Shakespeare's Theatre ( Cambridge University Press , 2000 ) , ch . 6. See also David Mann's study of the enduring importance of unruly clowns well into the seventeenth century ...
... Performance . " Gestos 21 ( April 1996 ) : 145–155 . Salas González , Lorenzo . " El alma colectiva de un pueblo ... in author's pos- session . II Encuentro Indígena de las Américas : Memoria 1999. San Cristóbal de las Casas : Sna ...
... Theatre , and developed further in Author's Pen and Actor's Voice , two decades later. Weimann finds on medieval and early modern stages a productive tension between, on the one hand, loci – specific representational (or mimetic) spaces ...
... in Author's Pen and Actor's Voice : Playing and Writing in Shakespeare's Thea - tre , ed . Helen Higbee and William ... Theatre's Fifth Dimension , " 35 ; David Saltz , " Infiction and Outfiction : The Role of Fiction in Theatrical ...
... theater - recognized he should revise his work to consider space more technically . In Author's Pen and Actor's Voice Weimann writes : In particular , theatrical space in Shakespeare's theatre does not admit of any binary set of ...
Performance and Liminality in Early Modern Drama Douglas Bruster, Robert Weimann. revealing , in his Epilogue at the ... in Author's Pen and Actor's Voice , 128-34 . 39 See Weimann , Author's Pen and Actor's Voice , 62-70 . 40 ...
... modern characterisation , which followed more practical ad hoc imperatives and was not afraid of acknowledging theatrical labour . 52 Escolme argues that direct address on the platea in early modern drama , precisely because of the way ...