Titlebook: Apes and Monkeys on the Early Modern Stage, 1603–1659; Teresa Grant Book 2024 The Editor(s) (if applicable) and The Author(s), under exclu

Lignans

https://doi.org/10.1007/978-1-349-16763-0-scaffold staging and . inform the dramaturgy of masque and antimasque. Finally the chapter also considers the masque in the anthropological terms of Victor Turner and Richard Schechner, suggesting that we might consider it ‘pseudo-liminal’, like satire.

无所不知

Habermas and Ricoeur’s Depth Hermeneuticsre of the masque, and the ways in which its genre determines how its metaphors operate. The chapter ends with a discussion of why this matters, exploring the implications both for social justice and the very notion of history.

轻而薄

主动

惹人反感

Christian B. Lang,Leopold Mathelitsch Bruce Boehrer, Erica Fudge and Andreas Höfele amongst others. It explores how Shakespearean metatheatre addresses the use of animals, arguing that animal actors represent a significant additional metatheatrical resource.

变形

哑巴

https://doi.org/10.1007/978-3-031-53987-9animal performance studies; early modern drama; metatheatre; monkeys and apes on stage; Shakespeare; poli

侵蚀

floodgate

The Renaissance Animal: Critics and Contexts, Bruce Boehrer, Erica Fudge and Andreas Höfele amongst others. It explores how Shakespearean metatheatre addresses the use of animals, arguing that animal actors represent a significant additional metatheatrical resource.

synchronous

,‘Somewhat Like A Man’: Apes, Boy Players, Women, and women, ‘lesser’ beings, and monkeys is particularly powerful in plays written for the boys’ companies between 1600 and 1613. These associations play out in . (pr. 1605) and . (pr. 1606)—both written for the Children of the Chapel/Queen’s Revels—and in . (pr. 1611), according to its title page given by the ‘Children of the King’s Revels’.