Stage, stake, and scaffold: humans and animals in Shakespeare's theatre
Gespeichert in:
Beteilige Person: | |
---|---|
Format: | Buch |
Sprache: | Englisch |
Veröffentlicht: |
Oxford [u.a.]
Oxford Univ. Press
2011
|
Ausgabe: | 1. publ. |
Schlagwörter: | |
Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022567214&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022567214&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
Umfang: | XII, 315 S. Ill. |
ISBN: | 9780199567645 |
Internformat
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Datensatz im Suchindex
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---|---|
adam_text | Titel: Stage, stake, and scaffold
Autor: Höfele, Andreas
Jahr: 2011
Contents
List of Illustrations viii
Preface ix
Note on the Text xiii
Introduction i
1. What beast was t then : Stretching the Boundaries in Macbeth 41
2. A Kingdom for a Scaffold 68
3. More than a creeping thing : Baiting Coriolanus 92
4. Cannibal-Animal: Figurations of the (In)Human in Montaigne,
Foxe, and Shakespearean Revenge Tragedy 115
5. I ll see their trial first : Law and Disorder in Lear s Animal
Kingdom 171
6. Revels End: The Tempest and After 229
Bibliography 279
Index 307
From Stage, Stake and Scaffold
When the ground in Shakespeare s Elsinore
is dug up Hamlet finds the skull of a clown:
alas, poor Yorick! When archaeologists dig-
up the area of the early modern London
theatre district what they find are the skulls
and bones of mastiff dogs or, occasionally,
the skull of a bear. Like the pieces of brick
and timber that allow us to trace the layout
of the old playhouse, like the odd penny,
button or belt buckle that recalls its long-
gone patrons, these bone finds are testimony
to what was a common afternoon s enter¬
tainment around
1600.
Londoners had the
choice either to see (or hear as the word
often is) the latest play by Shakespeare,
Dekker
or
Jonson
or to watch a bear with
a name like Sackerson, Harry Hunks,
Nan Stiles or Bess of Bromley be roped or
chained to a stake and set upon by specially
trained mastiff dogs. The culture that set the
stage for Juliet and her Romeo, for a FalstafF
and a Rosalind also maintained a theatre
nearby where animals could be watched
tearing each other to pieces. Notable
enough in itself, the truly remarkable thing
about this is how much more it was than just
coexistence. Play-acting and bear-baiting
were joined in active collusion. Vying for the
attention of the same spectators, they were
playing not just side by side or competitively
against each other, but also, in the literal
sense of Latin
colludere,
together.
Like Hamlet s old mole stirring
underfoot, the animal bones buried in
the foundations of the playhouse furnish
the stage of human action with a ghostly
double, a silent reminder of the
non
verbal
sound and fury that accompanied the
Shakespearean stage in the cultural work
that has been described as the invention
of the human , but will be explored here as
the question of the human .
In Shakespeare s London, the stage of the playhouse, the stake of the bear
baiting arena, and the scaffold of public execution constituted an ensemble of
spectacles that resembled each other and shared the same audiences. They all
played out in the same basic performance space
—
a thcatre-in-the-round, a
scaffold, stake, or platform surrounded by spectators
—
thus breeding an ever-
ready potential for a transfer of images and meanings. Each of the three kinds
of performance was always framed by an awareness of the other two, whose
presence was never quite erased and often, indeed, emphatically foregrounded.
Situating Shakespearean drama within its material environment, Andreas
Höfele
explores how this spill-over crucially informs Shakespeare s explor¬
ations into the construction and workings of the human . His dramatis
personae
are infused with a degree of animality that a later, more specifically
Cartesian, anthropology would categorically efface. Readings based on such
an anthropology tend to reduce Shakespeare s teeming multitude of animal
references to a stable marker of difference, beast being everything man is
not or ought not to be. In contrast,
Höfele
argues that Shakespearean notions
of humanity rely just as much on inclusion as on exclusion of the animal.
Humans and animals face each other across the species divide, but the divide
proves highly permeable.
|
any_adam_object | 1 |
author | Höfele, Andreas 1950- |
author_GND | (DE-588)115834532 |
author_facet | Höfele, Andreas 1950- |
author_role | aut |
author_sort | Höfele, Andreas 1950- |
author_variant | a h ah |
building | Verbundindex |
bvnumber | BV037414825 |
classification_rvk | HI 3325 HI 3385 HI 3390 |
ctrlnum | (OCoLC)707177516 (DE-599)BVBBV037414825 |
dewey-full | 822.33 |
dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
dewey-ones | 822 - English drama |
dewey-raw | 822.33 |
dewey-search | 822.33 |
dewey-sort | 3822.33 |
dewey-tens | 820 - English & Old English literatures |
discipline | Anglistik / Amerikanistik |
edition | 1. publ. |
format | Book |
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indexdate | 2024-12-20T15:16:27Z |
institution | BVB |
isbn | 9780199567645 |
language | English |
oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-022567214 |
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physical | XII, 315 S. Ill. |
publishDate | 2011 |
publishDateSearch | 2011 |
publishDateSort | 2011 |
publisher | Oxford Univ. Press |
record_format | marc |
spellingShingle | Höfele, Andreas 1950- Stage, stake, and scaffold humans and animals in Shakespeare's theatre Shakespeare, William 1564-1616 (DE-588)118613723 gnd Drama (DE-588)4012899-4 gnd Tiere Motiv (DE-588)4185464-0 gnd Hetzgarten (DE-588)4482893-7 gnd Mensch Motiv (DE-588)4114567-7 gnd Hinrichtung (DE-588)4137805-2 gnd Theater (DE-588)4059702-7 gnd |
subject_GND | (DE-588)118613723 (DE-588)4012899-4 (DE-588)4185464-0 (DE-588)4482893-7 (DE-588)4114567-7 (DE-588)4137805-2 (DE-588)4059702-7 |
title | Stage, stake, and scaffold humans and animals in Shakespeare's theatre |
title_auth | Stage, stake, and scaffold humans and animals in Shakespeare's theatre |
title_exact_search | Stage, stake, and scaffold humans and animals in Shakespeare's theatre |
title_full | Stage, stake, and scaffold humans and animals in Shakespeare's theatre Andreas Höfele |
title_fullStr | Stage, stake, and scaffold humans and animals in Shakespeare's theatre Andreas Höfele |
title_full_unstemmed | Stage, stake, and scaffold humans and animals in Shakespeare's theatre Andreas Höfele |
title_short | Stage, stake, and scaffold |
title_sort | stage stake and scaffold humans and animals in shakespeare s theatre |
title_sub | humans and animals in Shakespeare's theatre |
topic | Shakespeare, William 1564-1616 (DE-588)118613723 gnd Drama (DE-588)4012899-4 gnd Tiere Motiv (DE-588)4185464-0 gnd Hetzgarten (DE-588)4482893-7 gnd Mensch Motiv (DE-588)4114567-7 gnd Hinrichtung (DE-588)4137805-2 gnd Theater (DE-588)4059702-7 gnd |
topic_facet | Shakespeare, William 1564-1616 Drama Tiere Motiv Hetzgarten Mensch Motiv Hinrichtung Theater |
url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022567214&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022567214&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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