In the early nineteenth century in England an actor by the name of Robert Coatesl is said to have become so popular on account of his bad acting that people flocked from all over to attend his performances in the Regency Theatre in London. He went about for years in a Romeo costume, hoping to gain the part. When this eventually came to pass, his atrocious acting made him an overnight star: he tried to rewrite Shakespeare; he improvised scenes; he sometimes addressed the spectators in the middle of a scene; and he actually threatened to assault them if they laughed too loudly
The Roman theatrical tradition owes a great deal to the spirit of Greek theatre in antiquity, partic...
Although previous scholars have discussed the metatheatrical aspects of the surviving comedies of Gr...
Although previous scholars have discussed the metatheatrical aspects of the surviving comedies of Gr...
Introduction The term "metatheatre" is used by Abel for "theatrically self-conscious theatre" (1963 ...
The ambiguity of the term "metatheatre" derives in part from its text of origin, Lionel Abel's 1963 ...
The concept of metatheatre, defined by N. Slater as « theatrically self-conscious theatre, i.e., the...
Undoubtedly the most well-known playwright in the English language, Shakespeare’s influence can be f...
Undoubtedly the most well-known playwright in the English language, Shakespeare’s influence can be f...
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first ...
This article examines the First Player's performance of Aeneas' Tale of Dido as a key instance of Sh...
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first ...
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first ...
Plautus’ "Amphitruo" and Molière’s adaptation are divine burlesque plays that depict surreal scenes ...
This paper examines the semiotics of props and other physical items in Plautus’ Curculio. The play i...
The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205–1...
The Roman theatrical tradition owes a great deal to the spirit of Greek theatre in antiquity, partic...
Although previous scholars have discussed the metatheatrical aspects of the surviving comedies of Gr...
Although previous scholars have discussed the metatheatrical aspects of the surviving comedies of Gr...
Introduction The term "metatheatre" is used by Abel for "theatrically self-conscious theatre" (1963 ...
The ambiguity of the term "metatheatre" derives in part from its text of origin, Lionel Abel's 1963 ...
The concept of metatheatre, defined by N. Slater as « theatrically self-conscious theatre, i.e., the...
Undoubtedly the most well-known playwright in the English language, Shakespeare’s influence can be f...
Undoubtedly the most well-known playwright in the English language, Shakespeare’s influence can be f...
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first ...
This article examines the First Player's performance of Aeneas' Tale of Dido as a key instance of Sh...
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first ...
This chapter examines the stagecraft and performance of Plautus's and Terence's comedies. The first ...
Plautus’ "Amphitruo" and Molière’s adaptation are divine burlesque plays that depict surreal scenes ...
This paper examines the semiotics of props and other physical items in Plautus’ Curculio. The play i...
The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205–1...
The Roman theatrical tradition owes a great deal to the spirit of Greek theatre in antiquity, partic...
Although previous scholars have discussed the metatheatrical aspects of the surviving comedies of Gr...
Although previous scholars have discussed the metatheatrical aspects of the surviving comedies of Gr...