Shakespeare and the Mannerist Tradition: A Reading of Five Problem Plays
Cambridge University Press, 1995 - 197 страници
This 1996 book offers an original approach to Shakespeare's so-called 'problem plays' by contending that they can be viewed as experiments in the Mannerist style. The plays reappraised here are Julius Caesar, Hamlet, Troilus and Cressida, All's Well That Ends Well and Measure for Measure. How can a term used to define a movement in art history be made relevant to theatrical analysis? Maquerlot shows how famous painters of sixteenth-century Italy cultivated structural ambiguity or dissonance in reaction to the classical canons of the High Renaissance. Close readings of Shakespeare's plays, from the period 1599 to 1604, reveal intriguing analogies with Mannerist art and the dramatist's response to Elizabethan formalism. Maquerlot concludes by examining Othello, which marks the end of Shakespeare's Mannerist experiments, and the less equivocal use of artifice in his late romances.
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The problem of Mannerism
towards a definition of Mannerism
Mannerism in reaction to formalism
Julius Caesar and dramatic coquetry
Hamlet optical effects
Troilus and Cressida 1 18
Mostrar lartc Alls ellThatEnds ell and Measure for Measure
The end of the Mannerist moment
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Achilles action Aeneas aesthetic Agamemnon All's ambiguity Angelo anticlassical Antony appears artifice artists audience avenger Baroque Bertram Bronzino's Brutus C.H. Smyth characters Christ classical Claudius comedy comic contrapposto conventions death denouement Desdemona dramatic dramatist Duke effect Elsinore episodes evil expression eyes feeling figures Fortinbras give Gonzago Guildenstern Hamlet hand Hector Helena High Renaissance Horatio human idea Isabella Jonson Julius Caesar King Laertes less madness maniera Mannerism Mannerist art Mannerist painting means Measure for Measure metaphor Michelangelo monologue moral murder nature Ophelia Othello Pandarus Parmigianino personages perspective play play's plot Polonius Pontormo present psychological Quattrocento reason revenge rhetorical formalism role romances Rosencrantz Rosso scene sense Shakespeare Shakespearian Shearman Shylock situation space Spanish Tragedy speak spectator speech spirit stage story structure style teclmique theatre theatrical theme Thersites things thought Tintoretto tion tragedy Troilus and Cressida Trojan turn Ulysses Vasari Venice words