000			02215nam a22003378a 4500
001			CR9781139567794
003			UkCbUP
005			20180107143409.0
006			m|||||o||d||||||||
007			cr||||||||||||
008			120809s2014||||enk s ||1 0|eng|d
020			_a9781139567794 (ebook)
020			_z9781107036574 (hardback)
040			_aUkCbUP _cUkCbUP _erda
050	0	0	_aPR658.F7 _bP75 2014
082	0	0	_a822/.309353 _223
100	1		_aPreiss, Richard, _eauthor.
245	1	0	_aClowning and Authorship in Early Modern Theatre / [electronic resource] _cRichard Preiss.
246	3		_aClowning & Authorship in Early Modern Theatre
264		1	_aCambridge : _bCambridge University Press, _c2014.
300			_a1 online resource (295 pages) : _bdigital, PDF file(s).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aTitle from publisher's bibliographic system (viewed on 09 Oct 2015).
520			_aTo early modern audiences, the 'clown' was much more than a minor play character. A celebrity performer, he was a one-man sideshow whose interactive entertainments - face-pulling, farce interludes, jigs, rhyming contests with the crowd - were the main event. Clowning epitomized a theatre that was heterogeneous, improvised, participatory, and irreducible to dramatic texts. How, then, did those texts emerge? Why did playgoers buy books that deleted not only the clown, but them as well? Challenging the narrative that clowns were 'banished' by playwrights like Shakespeare and Jonson, Richard Preiss argues that clowns such as Richard Tarlton, Will Kemp, and Robert Armin actually made playwrights possible - bridging, through the publication of their routines, the experience of 'live' and scripted performance. Clowning and Authorship tells the story of how, as the clown's presence decayed into print, he bequeathed the new categories around which theatre would organize: the author, and the actor.
650		0	_aFools and jesters in literature
650		0	_aClowns in literature
776	0	8	_iPrint version: _z9781107036574
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9781139567794 _zCambridge Books Online
999			_c236332 _d236332