Research Catalog
Clowning and Authorship in Early Modern Theatre
- Title
- Clowning and Authorship in Early Modern Theatre / Richard Preiss.
- Author
- Preiss, Richard
- Publication
- New York : Cambridge University Press, 2014.
- Supplementary Content
- Cover image
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| Status | Format | Access | Call Number | Item Location |
|---|---|---|---|---|
Available - Can be used on site. Please visit New York Public Library - Schwarzman Building to submit a request in person. | Text | Use in library | JFE 14-3770 | Schwarzman Building - Main Reading Room 315 |
Details
- Subject
- Bibliography (note)
- Includes bibliographical references and index.
- Contents
- Machine generated contents note: Introduction: the play is not the thing; 1. What audiences did; 2. Send in the clown; 3. Wiring Richard Tarlton; 4. Nobody's business; 5. Private practice; Epilogue: the principal verb.
- Call Number
- JFE 14-3770
- ISBN
- 9781107036574 (hardback)
- 1107036577 (hardback)
- LCCN
- 2013033961
- OCLC
- 861211826
- Author
- Preiss, Richard, author.
- Title
- Clowning and Authorship in Early Modern Theatre / Richard Preiss.
- Publisher
- New York : Cambridge University Press, 2014.
- Description
- x, 287 pages ; 24 cm
- Type of Content
- text
- Type of Medium
- unmediated
- Type of Carrier
- volume
- Summary
- "To early modern audiences, the 'clown' was much more than a minor play character. A celebrity performer, he was a one-man sideshow whose interactive entertainments - face-pulling, farce interludes, jigs, rhyming contests with the crowd - were the main event. Clowning epitomised a theatre that was heterogeneous, improvised and participatory, and irreducible to dramatic texts. How, then, did those texts emerge? Why did playgoers buy books that deleted not only the clown, but them as well? Challenging the narrative that clowns were 'banished' by playwrights like Shakespeare and Jonson, Richard Preiss argues that clowns such as Richard Tarlton, Will Kemp and Robert Armin actually made playwrights possible - bridging, through the publication of their routines, the experience of 'live' and scripted performance. Clowning and Authorship tells the story of how, as the clown's presence decayed into print, he bequeathed the new categories around which theatre would organise: the author, and the actor"-- Provided by publisher.
- Bibliography
- Includes bibliographical references and index.
- Connect to:
- Research Call Number
- JFE 14-3770