000			02054nam a22002897a 4500
001			sulb-eb0015157
003			BD-SySUS
005			20160405134115.0
008			120809s2014||||enk o ||1 0|eng|d
020			_a9781139567794 (ebook)
020			_z9781107036574 (hardback)
040			_aUkCbUP _beng _erda _cUkCbUP _dBD-SySUS.
050	0	0	_aPR658.F7 _bP75 2014
082	0	0	_a822/.309353 _223
100	1		_aPreiss, Richard, _eauthor.
245	1	0	_aClowning and Authorship in Early Modern Theatre / _cRichard Preiss.
246	3		_aClowning & Authorship in Early Modern Theatre
264		1	_aCambridge : _bCambridge University Press, _c2014.
300			_a1 online resource (298 pages) : _bdigital, PDF file(s).
500			_aTitle from publisher's bibliographic system (viewed on 04 Apr 2016).
520			_aTo early modern audiences, the 'clown' was much more than a minor play character. A celebrity performer, he was a one-man sideshow whose interactive entertainments - face-pulling, farce interludes, jigs, rhyming contests with the crowd - were the main event. Clowning epitomized a theatre that was heterogeneous, improvised, participatory, and irreducible to dramatic texts. How, then, did those texts emerge? Why did playgoers buy books that deleted not only the clown, but them as well? Challenging the narrative that clowns were 'banished' by playwrights like Shakespeare and Jonson, Richard Preiss argues that clowns such as Richard Tarlton, Will Kemp, and Robert Armin actually made playwrights possible - bridging, through the publication of their routines, the experience of 'live' and scripted performance. Clowning and Authorship tells the story of how, as the clown's presence decayed into print, he bequeathed the new categories around which theatre would organize: the author, and the actor.
650		0	_aFools and jesters in literature
650		0	_aClowns in literature
776	0	8	_iPrint version: _z9781107036574
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9781139567794
942			_2Dewey Decimal Classification _ceBooks
999			_c37001 _d37001