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Die Instrumentalmusik in Beaumont und Fletchers Dramen ein Beitrag zur Kenntnis der Bühnen-Musik im Elizabethanischen Drama /Meyer-Ball, Hans Georg, January 1916 (has links)
Inaug. Diss.--Leipzig. / Cover title. Vita. Includes bibliographical references (p. [5]-6).
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The audience as character in Beaumont and Fletcher playsGilbert, Stuart Reid January 1972 (has links)
The thesis studies the relationship of playwright, actor and audience in Beaumont and Fletcher plays from the period 1607 -c. 1625. The major concern of the thesis is with the involvement of the audience in the dramatic action or emotional pattern of the plays. In order to discuss this audience participation which is suggested as the primary focus of the dramaturgy of Beaumont and Fletcher, the thesis first attempts to establish the most usual audience of the plays. The private audience of the Second Blackfriars Playhouse is described as typical of the wealthy, often aristocratic audience for whom Beaumont and Fletcher wrote and whose taste both.determined many of the characteristics of Fletcherian plays and was itself influenced by those plays. As a result of this relationship between Beaumont and Fletcher and their spectators, it is suggested that the playwrights had a significant role to play in the evolution of the English drama from the Elizabethan theatre to the Restoration theatre. In fact, the sort of theatre which the Caroline theatregoers of 1625 were demanding of Fletcher was precisely the style of "heroic", romantic theatre which he had taught them to appreciate with Philaster in 1610. Philaster is seen as the play in which the earlier, unsuccessful attempts by each playwright merged, in collaboration, into a formula for popular success and an approach to the theatre which was totally histrionic. [footnote omitted] Assuming this audience and its tastes, fashions and behaviour patterns, the thesis investigates Beaumont and Fletcher's satire of the audience, suggesting that Fletcherian satire was directed not at individuals, but at groups in Jacobean society, most of which they could assume to be present in the playhouse. Beaumont and Fletcher were able, again through a thorough understanding of their audience, to work the various groups, prejudices and affections of their spectators against each other so that the satire was not directed from the stage to the auditorium, but in a total pattern throughout the playhouse.
The emotional patterning of the plays is discussed as the centre of the Fletcherian design. The elaborate series of effects and often inappropriate stimuli by which Beaumont and Fletcher created a striking, involving emotional system is described. A King and No King and Valentinian are analyzed to demonstrate the emotional patterning.
The participation of the audience within the dramatic action is then discussed. The thesis suggests that the audience performs as a corporate character in the plays and traces the complex, histrionic effects by which they are encouraged to do so. The use of disguise and the aside are specifically studied in this light.
Finally, the larger implications of audience involvement are considered. Within the social milieu in which the plays are situated, Beaumont and Fletcher create a fictional world of the playhouse in which the involvement of the audience and actors become the whole action of a closed, microcosmic universe. These various, histrionic aspects work together to make the Beaumont and Fletcher plays exciting, if highly artificial creations that were popular in Jacobean England, are important in theatre history, and are of continuing theatrical interest today. / Arts, Faculty of / English, Department of / Graduate
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Courtly Love And Social ChangeJanuary 2016 (has links)
Natalie Schmidt Ferreira
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Language as action in the major tragicomedies of Beaumont and FletcherKisfalvi, Veronika J. January 1976 (has links)
No description available.
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The debt to Shakespeare in the Beaumont and Fletcher playsMcKeithan, Daniel Morley, January 1970 (has links)
Thesis--University of Texas, 1935. / Reprint of the 1938 ed. Bibliography: p. 225-233.
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Language as action in the major tragicomedies of Beaumont and FletcherKisfalvi, Veronika J. January 1976 (has links)
No description available.
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Exchanging blows and courtesies : status and conduct in Bonduca, A king and no king, and The nice valourPaterson, Susanne F. C. 30 March 2011 (has links)
Not available / text
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Public privacies : household intimacy in Renaissance genres /Trull, Mary. January 2002 (has links)
Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, June 2002. / Includes bibliographical references. Also available on the Internet.
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The Ophelia versions : representations of a dramatic type, 1600-1633 /Benson, Fiona. January 2008 (has links)
Thesis (Ph.D.) - University of St Andrews, March 2008.
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The Concept of Tragedy and Tragicomedy as Revealed in the Plays of Beaumont and FletcherParker, William J. 08 1900 (has links)
This thesis is an analysis of the comic and tragicomic styles that are evident in plays written by Beaumont and Fletcher.
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