Marlowe and the Popular Tradition: Innovation in the English Drama Before 1595Rejecting the traditional stereotypes of Marlowe (spy, troublemaker, homosexual, atheist, university wit) this study considers him as a popular dramatist who inherited an audience with certain expectations and shared experiences. It explores his engagement with the traditions of the popular stage in the 1580s and early 1590s and offers a new approach to his major plays in terms of staging and audience response. This account of English drama in these important but largely neglected years challenges the narratives of change in late 16th century. It Discusses Marlowe's plays in relation to some 30 other playtexts, earlier and contemporary, including Shakespeare's early plays. Marlowe emerges not so much as a precursor of Shakespeare but as an innovator and catalyst of change, the playwright who exploited and transformed the traditional materials of popular drama. |
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Page 107
... Barabas's physical appearance that mark him perhaps as a Jew ( Maguin ) , but most certainly as a representative of Evil : a red ' Judas wig ' perhaps , and the ' bottle nose ' he shares with the Devil of the moralities . Barabas is a ...
... Barabas's physical appearance that mark him perhaps as a Jew ( Maguin ) , but most certainly as a representative of Evil : a red ' Judas wig ' perhaps , and the ' bottle nose ' he shares with the Devil of the moralities . Barabas is a ...
Page 118
... Barabas uses the language of commerce to assert the inevitability of his revenge : ' The account is made , for Lodowick dies ' ( 243-7 ) . Lodowick . Well , Barabas , canst help me to a diamond ? Barabas . O , sir , your father had my ...
... Barabas uses the language of commerce to assert the inevitability of his revenge : ' The account is made , for Lodowick dies ' ( 243-7 ) . Lodowick . Well , Barabas , canst help me to a diamond ? Barabas . O , sir , your father had my ...
Page 121
... Barabas is play- acting to deceive a new victim . This time too , Barabas may occupy a platform position , closer to the audience and the traditional ... Barabas After Barabas the rhetoric of performance would never Framing the action 121.
... Barabas is play- acting to deceive a new victim . This time too , Barabas may occupy a platform position , closer to the audience and the traditional ... Barabas After Barabas the rhetoric of performance would never Framing the action 121.
Contents
Approaches and contexts | 14 |
Viewing the sign | 36 |
Lessons of history | 67 |
Copyright | |
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Marlowe and the Popular Tradition: Innovation in the English Drama before 1595 Ruth Lunney No preview available - 2011 |
Common terms and phrases
action Angels appears attention audience aware Barabas becomes called ceremony challenge character complex Conscience contemporary context continue conventional critical cultural death debatable defined developed direct discussion drama earlier early Edward effect elements Elizabethan emblem emblematic emotional English especially example expectations exploit Faustus figures framing Henry important individual instances interpretation kind King language late later less London Looking Lords Marlowe Marlowe's Marlowe's plays matter means moments morality narrative nature notes offers particular pattern performance perhaps perspectives play's players playhouse plays political popular position possible practice presented Press Prologue provides reference reflect relationship Renaissance response rhetoric Richard scene seen sense Shakespeare shift significant simply sixteenth-century social space spectators speech stage structures studies suggests Tamburlaine theatre theatrical experience Three Ladies tion traditional Tragedy University values Vice visual signs voices