Shakespearean Entrances offer a systematic study of entrances and exits on the Shakespearean stage. Elizabethan playwrights and players not only routinely handled these movements but they also used them to bring about various effects. Through analyzing the surviving play-texts, the author attempts to identify the unspoken but standard rules that lay behind the minimal and conventionalized stage directions 'Enter' and 'Exit'/'Exeunt'. The findings provide means by which to recover effects and meanings that the original audience would have appreciated.
By bringing together evidence from different sources--documentary, archaeological, and the play-texts themselves--Staging Shakespeare's Theatres reconstructs the ways in which the plays were originally staged in the theaters of Shakespeare's own time, and shows how the physical possibilities and limitations of these theaters affected both the writing and the performances. The book explains the conditions under which the early playwrights and players worked, their preparation of the plays for the stage, and their rehearsal practices. It looks at the quality of evidence supplied by the surviving play-texts, and the extant to which audiences of the time differed from modern audiences; and it gives vivid examples of how Elizabethan actors made use of gestures, costumes, props, and the theater's specific design features. Stage movement is analyzed through a careful study of how exits and entrances worked on such stages. The final chapter offers a thorough examination of Hamlet as a text for performance, excitingly returning the play to its original staging at the Globe.
By bringing together evidence from different sources--documentary, archaeological, and the play-texts themselves--Staging Shakespeare's Theatres reconstructs the ways in which the plays were originally staged in the theaters of Shakespeare's own time, and shows how the physical possibilities and limitations of these theaters affected both the writing and the performances. The book explains the conditions under which the early playwrights and players worked, their preparation of the plays for the stage, and their rehearsal practices. It looks at the quality of evidence supplied by the surviving play-texts, and the extant to which audiences of the time differed from modern audiences; and it gives vivid examples of how Elizabethan actors made use of gestures, costumes, props, and the theater's specific design features. Stage movement is analyzed through a careful study of how exits and entrances worked on such stages. The final chapter offers a thorough examination of Hamlet as a text for performance, excitingly returning the play to its original staging at the Globe.
Japanese woodblock prints "ukiyo-e", are one of the most popular Japanese art form. Covering topics such as the philosophy and the techniques at the basis of ukiyo-e, this book provides a detailed survey of the famous artists, along with over 100 pictures. Further than being an expert in Eastern Asia arts, Dr. Mark McGregor has been an avid collector of Ukiyo-e for more than 50 years, learning the methods and materials employed in Japanese printmaking. Mariko Ishida curated the work as a knowledgeable gallery owner specialized in Ukiyo-e. She provides advices to amateurs on how to collect, care for, view and, eventually, buy Japanese ukiyo-e prints.
Accretion disks are ubiquitous in our universe, and produce intense brightening. How does the gas in the disk lose its angular momentum to release massive amounts of gravitational energy? This is one of the biggest open questions in astronomy. This book studies four types of newly detected outbursts in dwarf novae through optical observations and/or numerical simulations and puts forward physical interpretations of these outbursts on the basis of the disk instability model, the most plausible model for dwarf-nova outbursts. It demonstrates that the disk-instability model can explain rich variety in dwarf-nova outbursts if some new aspects are taken into account (e.g. the extremely slow growth of tidal instability and thermal instability in the disk misaligned against the binary orbital plane). Moreover, it shares valuable insights on the evolution of binary systems by finding period bouncers and dwarf novae with F-type companion stars, which are rare objects.
What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? In Piercing the Structure of Tradition, Mariko Anno investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. Anno examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by Yeats. Her ethnographic approach draws on interviews with performers and case studies, as well as her personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. She argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.
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