The Players' Advice to Hamlet
The Rhetorical Acting Method from the Renaissance to the Enlightenment
Bibliographic Data
| ID | 23769080 |
|---|---|
| Authors | David Wiles (0000-0003-2226-7622, University of Exeter, corresponding author) |
| Year | 2020 |
| Publication date | 2020-01-31 |
| Open Access | Yes |
| Type | BOOK |
| Venue | Players' Advice to Hamlet (SOURCE_BOOK) |
| Publisher | Cambridge University Press (PUBLISHER • US) |
| DOI | 10.1017/9781108689502 |
| OpenAlex | W3189865210 |
| ISBN | 9781108689502 |
| Language | EN |
| Citations received | 1 |
| References cited | 124 |
Hamlet is a characteristic intellectual more inclined to lecture actors about their craft than listen to them, and is a precursor of Enlightenment figures like Diderot and Lessing. This book is a quest for the voice of early professional actors, drawing on English, French and other European sources to distinguish the methods of professionals from the theories of intellectual amateurs. David Wiles challenges the orthodoxy that all serious discussion of acting began with Stanislavski, and outlines the comprehensive but fluid classical system of acting which was for some three hundred years its predecessor. He reveals premodern acting as a branch of rhetoric, which took from antiquity a vocabulary for conversations about the relationship of mind and body, inside and outside, voice and movement. Wiles demonstrates that Roman rhetoric provided the bones of both a resilient theatrical system and a physical art that retains its relevance for the post-Stanislavskian performer.
Advice (programming) · Art · HAMLET (protein complex) · Computer Science · Shakespeare, Adaptation, and Literary Criticism
The Shakespearean Stage 1574–1642
Emotional Lexicons
L’orateur sans visage
Crispien Ier
Aaron Hill
The Hand, an Organ of the Mind
Cognition in the Globe
Hume's “New and Extraordinary” Account of the Passions
Women on the Stage in Early Modern France
From Passions to Emotions
Gesture Visible Action as Utterance
For More than One Voice
The expression of the emotions in man and animals.
La raison des gestes dans l'Occident médiéval
Ii.—what Is an Emotion ?
Comment jouait-on le rôle d'Hippolyte dans la Phèdre de Racine ?
‘Our Children Made Enterluders’
Sacred Rhetoric
Elizabethan Rhetoric
Generations of Feeling
Preachers and People in the Reformations and Early Modern Period
Thomas Aquinas on the Passions
Reformation of Feeling
The Contested Parterre
Philipp Melanchthons "Rhetorik"
Personnage
The Ascent of Affect
The World of Tacitus' Dialogus de Oratoribus
Emotions in History - Lost and Found
Cicero's Use of Judicial Theater
Russia and Soul
Thomas Betterton
Befriending the Commedia dell'Arte of Flaminio Scala
Schauspieler und Theaterbetrieb
Law and Justice in the Courts of Classical Athens
Mass Oratory and Political Power in the Late Roman Republic
Greek Declamation
Maister of al artificiall force and sleight’
The Expression Of The Passions
An Amulet Made of Memory
Performing the Passion
The Making of a Radical
An Annotated livret of Lully's Roland as a Source for Seventeenth-Century Declamation
Vives's De ratione dicendi
Actress to Activist
Rehearsals at the Comédie‐Française in the Late Eighteenth Century
Polus and his URN
"Cher et illustre Roscius" David Garricks Influence on the Dramatic Theories of Diderot
Tacitus and the date of Curiatius Maternus' death
The Roman World of Cicero's De Oratore
New Directions in Ancient Pantomime
Enargeia in Classical Antiquity and the Early Modern Age
Making a New Man
Actors and Audience in the Roman Courtroom
Gestures and Acclamations in Ancient Rome
O decus Italiae virgo’, or The Myth of the Learned Lady in the Renaissance
Tacitus' Dialogue on Oratory
Dramatics in (And Out Of) the Pulpit in Post-Tridentine Italy
An argument for basic emotions
The History of Emotions
The Art of Painting the Passions
Shakespeare and the Idea of the Modern
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,17 |
| Citation span | 2020 - 2020 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |