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Swift, Sterne and wise foolishnessHotch, Douglas Ripley, January 1969 (has links)
Thesis (Ph. D. in English)--University of California, Berkeley, Sept. 1969. / Includes bibliographical references (leaves 244-247).
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From Spanish stage to California vineyards : the survival of the resilient simpleton /Méndez Montesinos, Delia Leticia, January 2000 (has links)
Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 226-238). Available also in a digital version from Dissertation Abstracts.
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El papel del gracioso en las comedias religiosas de Tirso de MolinaHeurtel, Annaik January 1969 (has links)
No description available.
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A fools' parade through three modern American novels : Catch-22, Slaughterhouse-five, and the World according to Garp /Conklin, Robert Brian, January 1986 (has links)
Thesis (M.A.)--Ohio State University, 1986. / Includes bibliographical references (leaves 86-88). Available online via OhioLINK's ETD Center.
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El papel del gracioso en las comedias religiosas de Tirso de MolinaHeurtel, Annaik January 1969 (has links)
No description available.
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The Fool as a Dramatic Device in ShakespeareClarke, Joseph Kelly 08 1900 (has links)
This study is concerned with the dramaturgic use of the fools of five of Shakespeare's plays. After the Introduction, Chapter II investigates the fool as a historical figure and establishes his credibility. Chapter III examines the comic methods and techniques of the fools. Chapter IV is an investigation of the use of the fool in his capacity as choric voice to present a particular viewpoint on the play. Chapter V is a study of how the fool fits into the action as a character, and Chapter VI investigates the ways in which he may be used in structural duties. The study concludes that the Shakespearean fool is an effective device due to his historical credibility and his recognized position as an entertainer.
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The schlemihl as hero in Yiddish and American fictionWisse, Ruth R. January 1969 (has links)
Note:
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Inheriting The Motley Mantle An Actor Approaches Playing The Role Of Feste, Shakespeare's Update Of The Lord Of MisruleClateman, Andrew 01 January 2011 (has links)
Playing role of Feste in William Shakespeare’s Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor will benefit greatly from an exploration the traditional function of the clown its development in society and literature before Shakespeare, and how Shakespeare’s use of the clown developed, culminating in the writing of Twelfth Night. The actor will thereby have a better understanding of what Shakespeare might by trying to achieve with Feste,, and he (or she) may better find the motivations for Feste’s sometimes-enigmatic words and actions, which will, in turn, give shape and purpose to the clowning. I put this thesis to the test in preparing for and playing the role of Feste in Theater Ten Ten’s production of Twelfth Night in the spring of 2010 in New York City. My research and preparation will include: a substantial immersion in much of Shakespeare’s cannon, and viewing of performances of it (mainly on video); research on the role of the clown, how it developed through history until Shakespeare’s time, and how Shakespeare appropriated and developed that tradition, culminating in Feste; a performance history of the role; a structural analysis of Feste’s role in Twelfth Night; a character study of Feste; a rehearsal and performance journal documenting my ongoing iv exploration, challenges and choices. The main challenge, as I foresee it, is to arrive at my own unique performance of Feste while fulfilling both my director’s vision and Shakespeare’s intention.
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