Shakespeare the Actor and the Purposes of Playing

Meredith Anne Skura

Shakespeare the Actor and the Purposes of Playing
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Meredith Anne Skura

342 pages | 6 x 9 | © 1993
Paper $32.00 ISBN: 9780226761800 Published January 1994
For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in Shakespeare's England and shows why a knowledge of actual theatrical practices is essential for understanding both Shakespeare's plays and the theatricality of everyday life in early modern England.

Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance.
List of Figures
1    Autobiography—What Is It?
      Issues and Debates
2    Lyric Autobiography: Intentional or Conventional Fallacy?
      The Poetry of John Skelton (1460–1529) and Thomas Wyatt (1503–42)
3    Identity in Autobiography and Protestant Identification with Saints
      John Bale and St. Paul in The Vocacyon of John Bale (1553)
4    Autobiography: History or Fiction?
      William Baldwin Writing History “under the Shadow of Dream and Vision” in A Mirror for Magistrates (1559)
5    Sharing Secrets “Entombed in Your Heart”
      Thomas Whythorne’s “Good Friend” and the Story of His Life (ca. 1569–76)
6    Adding an “Author’s Life”
      Thomas Tusser’s Revisions of A Hundreth Good Points of Husbandry (1557–73)
7    A Garden of One’s Own
      Isabella Whitney’s Revision of Hugh Plat’s Floures of Philosophie in Her Sweet Nosegay (1573)
8    Erasing an Author’s Life
      George Gascoigne’s Revision of One Hundreth Sundrie Flowres (1573) in His Poesies (1575)
9    Autobiography in the Third Person
      Robert Greene’s Fiction and His Autobiography by Henry Chettle (1590–92)
10  Autobiographers: Who Were They? Why Did They Write?
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