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Her first confirmed playgoing occurs at age three and a half,
While the quick Broadway turnaround of some play titles provokes eyerolls from many in the industry, it's not entirely clear the same fatigue will be felt by the playgoing audience at large--a crowd that likely doesn't see every Broadway show the way insiders do.
There must have been a thirsty market for these transcriptions, but how do they stand up as records of performance, souvenirs of playgoing, and aides de memoire for readers and imitators at their own homes?
The combination of fairy tale hopes and reality check in a notoriously problematic script, along with the best Helena in my playgoing experience, yielded a highly enjoyable and meaningful evening in the theatre, the high point of my 2009 playgoing.
Andrew Gurr, Playgoing in Shakespeare's London (Cambridge: Cambridge University Press, 1987), p.
33) For Andrew Gurr's discussion of the social composition of audiences at the early modern playhouses, see Playgoing in Shakespeare's London (Cambridge, 2004), pp.
With regard to the reception of drama and the relation of the theater to society, culture, and the public sphere, early modern historicists have usually focused on playgoing and performance.
The Book of the Play is collectively interested in such "histories," in early modern drama in print and in manuscript, specifically with their alternate modes of production and reception as distinct from those we associate with playgoing.
Secondly, Kinney examines how the conditions of playing and playgoing both inspired and restricted Shakespeare; the obvious limitations of the bare stage are off set by the actors' use of gesture and the way in which costumes signified meaning: not only the role of the characters wearing them, but their social class as well.
Here he considers not the physical structures or the audiences (topics of his classic 1987 study Playgoing in Shakespeare's London) but the team: the company who built the audiences, acted the plays, and helped create the phenomenon of Shakespeare.
Levin's argument is further confirmed by Andrew Gurr, who writes that the "high proportion of women at the playhouses testifies to the popularity of playgoing for the illiterate, since few women of any class, even in London, could write their names" and that "women from every section of society went to plays, from Queen Henrietta Maria to the most harlotry of vagrants" (56, 58).
theater audience, the playgoing experience as described by Glaspell
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