In the event of fire

Menzer, Paul; Gurr, Andrew; Karim‐Cooper, Farah

doi:10.1017/cbo9781139629195.012

Cited by 3 publications

(5 citation statements)

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“…Iachimo's violation of Imogen's body takes place on a described 'symbolic' field rather than a physical one. 116 Imogen undergoes a literary dissection as Iachimo's blazon violently writes the 'notes' of her body into his tables (30). Iachimo (and Shakespeare) writes Imogen into a literary and mythological canon in which she performs, on paper, the same role as Philomel and Lucrece.…”

Section: The Blackfriars's Architectural Heritage As Catholic 'Haunting'mentioning

confidence: 99%

“…29 Paul Menzer argues that 'the Blackfriars helped bring about an increase in spectacle' of which the 'cause was not decadence, but proximity'. 30 The Blackfriars was key in 'institutionalising intimacy'. 31 Cymbeline is largely concerned with the language of 'diminution' and depth; Imogen describes how 'I would have broke mine eyestrings; cracked them' (1.3.22).…”

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Shakespeare’s Statuary Women and the Indoor Theatre’s Discovery Space

O'Gorman¹,

Johnson

2021

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Section: The Blackfriars's Architectural Heritage As Catholic 'Haunting'mentioning

confidence: 99%

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confidence: 99%

Shakespeare’s Statuary Women and the Indoor Theatre’s Discovery Space

O'Gorman¹,

Johnson

2021

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“…The self‐conscious merging of verbal and visual style is acute in plays of the early Jacobean period, when elaborate stage devices are being developed in court performances and staged spectacle fashioned for “intimate” indoor playhouses (see Penelope Woods's on “intimacy” and Paul Menzer on actor‐audience proximity). In this period, Webster, Shakespeare, Middleton, and Marston, amongst others, employ distinctly archaic visual forms that are necessarily accompanied by contrived verbal description, particularly the tableau and dumb show; these forms are clear, for instance, in Webster, but are also present in moments that have the quality or essence of dumb shows, as in Jupiter's descent in Cymbeline (see Marion Lomax 31).…”

Section: Articlementioning

confidence: 99%

Seeing Speech as Spectacle inThe White Devil

Davies

2016

Literature Compass

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This article argues that, in the early seventeenth century, rhetorical devices and stage devices overlap. There has been much critical interest in the materiality of theatres like the Blackfriars, the Globe, and the Red Bull. Recent work in early modern theatre studies has made some broad gestures to the way in which poetic and verbal effects are linked with the practical theatrical work of the playhouse. Rhetoric and rhetorical styles have also been subject to renewed scholarly interest, with some suggesting the imminence of an "aesthetic turn" or "New Formalism." Yet these two critical approaches often remain distinct. Attention to the interaction between speech and spectacle can unite ostensibly different angles of literary analysis and deliver further attention to the visual, philosophical, and intellectual complexity of seventeenth-century playhouse spectacle.I begin by exploring some important terms in early modern English that point to rhetoric's participation in the material world and that suggest these two approaches, when considered from an historical perspective, are complementary. I then attend to the dumb shows and to light and darkness in John Webster's The White Devil (1612) to argue for a critical approach to early modern theatre studies that combines historically minded close reading with recent revisionist considerations of spectacle and that sees rhetorical style as part of the visual and material world of the playhouse. ArticleSee, here he comes ---Francisco, The White Devil (1.2.45)There has been much recent critical interest in the materiality of theatres like the Blackfriars, the Globe, and the Red Bull (Gurr and Karim-Cooper; Griffith; Karim-Cooper and Stern; Harris; Harris and Korda; Sofer). At the same time, from a different approach, early modern rhetoric and rhetorical styles-the art of using language effectively to particular ends-have been subject to renewed scholarly focus (Mack; McDonald; Skinner). This interest in formal close reading is tangentially connected to a move in the last decade, suggested by Richard Meek, towards an "aesthetic turn" or "New Formalism" (7; see also Christopher Pye and Mark Robson). Marrying these two recent approaches can illuminate complex moments of stage display-particularly in the uncertain, spectacular playworlds of early seventeenth-century tragedies and tragicomedies and in Shakespeare's "late/last plays." In this article, I explore some important terms in early modern English that point to rhetoric's participation in the material world and that suggest these two approaches, when considered from an historical perspective, are complementary. I go on to address aspects of John Webster's The White Devil (1612) where speech and spectacle are intertwined.Early modern theatre studies have made some important gestures towards the way in which poetic and verbal effects are linked with the practical theatrical work of the playhouse. Gwilym Jones's recent study of storms has shown that staged effects affect Shakespeare's language, arguing that "Shakespeare ...

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“…Having worked for eight years in the outdoor Globe Theatre reconstruction, Dromgoole recognised that the indoor playhouse would introduce audiences to a new "sensory norm" as Paul Menzer refers to it. 2 The intimacy that the playhouse architecture produces hearkens back to the Blackfriars theatre itself (an influence but not a model for the Sam Wanamaker Playhouse), the indoor venue occupied by the King's Men from 1609-1642 and where The Duchess of Malfi would have been staged in 1614. This intimacy has been referred to repeatedly by theatre and academic critics alike as the overwhelming effect or impression of the indoor space.…”

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“…[T]he commercial success of indoor playhouses brought about, in short, a counterintuitive move -not the close up drama of psychological intimacy, but a theatre of wonder, distance, and deferral, a theatre of domestic spectacle. 3 The Duchess of Malfi offered the Globe an opportunity to explore the ways in which theatrical intimacy, early modern lighting technology and dramaturgical spectacle could exploit and unearth the performance and meaning-making potential of the Sam Wanamaker Playhouse. Webster's play raises theatrical challenges that the new indoor playhouse could feasibly and creatively test.…”

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confidence: 99%

Spectacle and Female Power: The Duchess of Malfi in the Sam Wanamaker Playhouse

Karim-Cooper

2018

asf

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In the event of fire

Cited by 3 publications

References 2 publications

Shakespeare’s Statuary Women and the Indoor Theatre’s Discovery Space

Shakespeare’s Statuary Women and the Indoor Theatre’s Discovery Space

Seeing Speech as Spectacle inThe White Devil

Spectacle and Female Power: The Duchess of Malfi in the Sam Wanamaker Playhouse

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