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Full-Text Articles in Dramatic Literature, Criticism and Theory
More Than A 'Mere Painted Scene': The Role Of Theatricality And The Carnivalesque In 'The Mayor Of Casterbridge', Christine R. Vahaly
More Than A 'Mere Painted Scene': The Role Of Theatricality And The Carnivalesque In 'The Mayor Of Casterbridge', Christine R. Vahaly
Student Publications
This essay examines the role of Thomas Hardy's scenes of community theatre, drawing examples from Far from the Madding Crowd, The Return of the Native, and The Mayor of Casterbridge. Only in such scenes from The Mayor of Casterbridge does Hardy employ Mikhail Bakhtin's carnivalesque, reversing the roles of the spectator and the creator of spectacle, the supporting cast and the lead actor, in order to magnify the fall of protagonist Michael Henchard.
‘An Isle Full Of Noises’: The Perception & Influence Of Sound In Shakespeare’S The Tempest, Paul A. Di Salvo
‘An Isle Full Of Noises’: The Perception & Influence Of Sound In Shakespeare’S The Tempest, Paul A. Di Salvo
Student Publications
Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging the opening scene of William Shakespeare’s The Tempest. The physical presence of the ship, the sounds and lighting effects of thunder and lightning, the dialogue of the actors, and the use of music have varied from the early 17th century to the present in an effort to appeal to the audience. The presentation of these elements, especially sound cues and music, prepares audiences to understand the dynamics of Prospero’s powers and transformation as a character. Depending on how sound and stage technologies were implemented …