By Evelyn B. Tribble (auth.)
ISBN-10: 0230118518
ISBN-13: 9780230118515
ISBN-10: 1349293377
ISBN-13: 9781349293377
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Additional info for Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre
Sample text
4. Entrances and exits should not violate proxemics, a culture’s general, everyday, tacit rules about space. Fitzpatrick suggests that “playwrights and audience shared and exploited at least a rudimentary concrete spatial commonsense” (2012 forthcoming). 5. Directions for entrances and exits will need to be somewhere, but they need not be everywhere. That is, we should 32 COGNITION IN THE GLOBE not expect redundant information, and we should certainly not expect systematized information. Direction for movement may be dispersed across dialogue, plots, parts, or playbooks.
Many scholars have declared themselves to be flummoxed about the precise function of the plots. The most exhaustive contemporary treatment of them is Bradley’s From Text to T HE ST UFF OF MEMORY 47 Performance in the Elizabethan Playhouse: Preparing the Play for the Stage (1992). Bradley announces the purpose of his book in this way: “the aim of this study is to rescue the theatre Plots from the critical neglect they have fallen into, to interpret their functions as working documents of the stage, and to explain the witness they bear to the way the dramatists of the age understood their craft and the requirements of the companies of men and boys for whom they wrote” (1).
My key assumption is that the early modern theatre is a workplace. While this point is scarcely debatable, its full implications are not always realized. In fact, there is a strong strain of Shakespearean criticism overtly or implicitly hostile to the idea of the theatre as a business. One persistent strand of argument, for example, contrasts the purportedly dodgy business practices of Henslowe’s company with the more artistically high-minded practices of the Lord Chamberlain’s Men. F. G. Fleay suggested that Henslowe’s diary reveals not the practices of Shakespeare’s company, but instead “set[s] before us the selfish hand-to-mouth policy on which its principal rivals were guided” (1890/1964: 118).
Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre by Evelyn B. Tribble (auth.)
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