Clowning and Authorship in Early Modern Theatre by Richard Preiss

By Richard Preiss

To early sleek audiences, the 'clown' was once even more than a minor play personality. a celeb performer, he used to be a one-man sideshow whose interactive entertainments - face-pulling, farce interludes, jigs, rhyming contests with the gang - have been the most occasion. Clowning epitomized a theatre that was once heterogeneous, improvised, participatory, and irreducible to dramatic texts. How, then, did these texts emerge? Why did playgoers purchase books that deleted not just the clown, yet them to boot? tough the narrative that clowns have been 'banished' by way of playwrights like Shakespeare and Jonson, Richard Preiss argues that clowns akin to Richard Tarlton, Will Kemp, and Robert Armin truly made playwrights attainable - bridging, in the course of the book in their workouts, the event of 'live' and scripted functionality. Clowning and Authorship tells the tale of the way, because the clown's presence decayed into print, he bequeathed the recent different types round which theatre could organise: the writer, and the actor.

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Categories: British Irish Drama Plays