Scribd Logo
Upload

Welcome to Scribd!

  • Early Modern Theactricality

    Uploaded by

    Audrey Boyle
    9 views12 pages
    shakespeare desire

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    shakespeare desire

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    9 views12 pages

    Early Modern Theactricality

    Uploaded by

    Audrey Boyle
    shakespeare desire

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 12
    OXFORD TWENTY-FIRST CENTURY APPROACHES TO LITERATURE Early Modern Theatricality Edited by HENRY S, TURNER ‘haa fora Tse, es Le de epee de Satan Sa lps ion ane OXFORD Pee ta pean tr 1548) 68 (pho: ray Con OXFORD OXFORD CONTENTS, | tan r byrne nary re the ListefAbbrotatons * See eee 5 mghoeen aerate fase ae x =o 7 renova Se s nent ¢ son ey * t Sova Sin as 13 oun Doe = 4 Gln tron ms | 19. scoTThnsano Now 28 2 homme emt Po Slee ance = EEE enon that Cav says inthe theatres duty o Werle the condtionfthenter Ttealae the codons we exact for extence outide—hiddennes, sence, leolition hence make that existence pan” A second rest of Hermia and Hel nine specatship thus to show what Cave argc: tat acknowledgement ‘the sufering of others isa confirmation ofthe Bel fact of ou separateness. And thatthe nity of oar condition™ “Theres ret beat inthis piso. But tbe reason for my returnto A idan ‘mer Night Dream ste tweak tht the play's women spettor: adminis to, or these unscripted characters unset the lation upon which Cael theatrical is premise By calling on characters to diapear into the adince fan ist plays ferfrmance Mier Nights Drea undeets the recognition of Them 8 ‘Spare ro m-th same rengnition tha makes acknowledgement posible Instead propos an eitly modern Rng healt thatsuncertamis dite. ‘cc fo the worl that watcher 3 True, Shakspearés women spectators donot ‘euch coe thir die a stongy as Hesumons ad ons do we cant kif Heemio nd Helena yi om the hater of ir ae companionsto se ans solace Bu tis by heping this question undecided hat hidnnes and lence ‘shit fom sap exprenon of social ation practi of shared and un ‘ide open Fo i a Shkespeares mort exist sel ferent wok tbe {sition Between watching a show and being show cannot be discerned then ‘aching «Siow no mater how ner shoul ot De misread a8 caption oa ‘Epuation tat cannot be rete Te sent and stl spectators of ryan nd This thas gest ht decor the means ter stages set ep performance nd aude sly sin, ery modern Els theacalty no only Spr ts ‘tation, alo der women characters to question the uth of his vie FURTHER READING xgton Willa, Hw the Wil Brame tg Presec, Thr ad the Quston foe (bar Sate Unset of Nees Pes 205). ap cn Tent Ct a ence espns in Et Moder Drama Ne "rk Cambie Unserty Pre, 203), Low ener And Nova MY apg the Aue i Ertan Drona Tse NewYork Plgrave Muel,201) ‘tsar i sonst oom: On he Phenamensey f he Tht (ere ‘ner of Cllr ron 155). ‘tele Ey Coin inthe Gt: Aten and Memory in Shs Tae (Sev York Pagar Macln2010, = cl Ma en ha S288 * Can Mat We a We Sag 9 Ghat Aer or ae 32 CHAPTER 17 DESIRE MADHAVI MENON How do we se dsr on sage There of couse, the obvious soning lovers wearing undying lve tone anther: Hons fa overs aod Peso rane ex lovers rere ol esata that move cual no fre nesta ea retarthat sweps ves of the Ta he the al shee martersof ese depen body on sag todeler ier be beet ofthe tbe ued or pases to von sont Dut how doe ede oo saginthe abe of body Cand eps tours psy gsr Ants rene here body then cant beds Te probe result theatrical one since thet the only sry ne ht elf ‘ys odes to enact ale, Takings ue fom Shlespeares A Miu gh Dries ks stot he stro ete ine shee aby secrets whether canbe recognized staged oes aes Sased in ater subsites thet slaw eo reso. ‘eet be ‘te glee, A Midarome Ng ream ight spear be peace tpl wth wich ep thseston Aa eso deat bodeson sage nthe lyf aything. the an exes. The pay eq ay coy ‘hte podutons ce ter rok RSC peomance'n 170 hae koe te dx hereof Hippy Tee and Tita Oberon sn the sce boson spe. the ly ao equ dasa oy bodes a ther "lant dee Take rnc, Tecs amas econ paton Ac of the pl. in which he domi the ver sry aout hgh spent topetier inte eet so Tesh ofan it ek er ee ap SS teens eft iting ah nae aga eek ee sia it a let rng Foc Se ‘Serle brow of Err. And imagination bes oth Then hing unknown, th Ft pn Tues them ostapes and po hing Aloe habaton eds nae Soc re hathangimginaion Tht woul bat speed some op "Heongeend sre ring oat Orin ih. imaging soe a aes ath pond eat Inanarpument the play explores mor fly Theseus sugges that inorder to make fantasies el people metab locate dese ina by. The ody i conceied by ‘he desing imagination and thas nly a phanttmaic en Hippo ad 6 ‘momen ar: ual estate night ld ne ‘nal ha mins aig toget, erent than faye ods nnthig an “Though they are both talking about imaginative sire snd it reation to truth, Theses and Hippel fundarently agree with one another tthe very fs word of Hippies respense—Bat™-makes clear. For he, the ably Yo take ‘concrete isthe reason one should heed the imagination, whe for Thess he reason to mist Hippie conned tht the inagination bestows mare ‘reli on ts narratives nt es but or Theses conjuring coherent entity in twhich dsirecan anchor selfs mere fata: The imagination, fo Hippy fa ‘eter than the sum ofits partsthe lover’ store together tly tothe Con stan’ of lve—but for Theseus thi ligament among thi store onl tay the extent ofthe fevered imagination. According on, theo tat in ton rigs forth are shapes intended to eet cal ik betwen bringer of aie tp elt esc ia tan ee ‘Seine ot Shen oe wd i emmy sats sa ‘Sinha ae Fd cgi tips sl i Sane un nn ct sie their hate a ew Nn en ei Joya he oy sel where no sch nk existe. magnation thas setup a det ‘ertespondence between hapines-lss-joy. on the one hid and ay vespo bl for producing thos fetgs, onthe othr. This corspondenc sees fay fr Tess than for Hippahen. naginary In ply which the raction and esifeaion and teasfornatin of bode scr tbat plot and eto “Theseus argument abot the phantasmatic oly mattaiztion of on imagine tive dsr invites ust consider nvr corel the posit of on mate. Hal desire hats not necessary cate in physi by, Theseus uses the word oy which of ours i not desire in ft oy fen regatded 4 the opposite of desire. But the psychoanalytic term jouisanc which describes both pai andj forge alink between jy and deste which the later empers the merely hapy associations ofthe former Untraslatble ‘either the one or the ther, mich lke Theseur’s speech, jousance is often rendered soy but lb the sundering ofthat joy the moment at which one ssa glimpse of non-beiog and non meaning. Describing in Lacan terns the ‘unnamesblé remainder ofthe Real in the Synbolie, Le Edelman argck ‘hat ‘oulstance, sometimes ansated ay “enjyinent” sa movement bejond ‘he plessre principle, beyond the distinction of pleasure and puna Wont sage heyond the hounds of ieoty, meaning, andl. This passage. my have theefect. instar ast get attached toa particular objector end of can sealing Mentty around the Tatasy of sation or fulllment by means of ‘hat objet” In Lcanian terms the embed ‘oy of which Theses peat the congealed object of desire «phantasmati oly conjured upto te down the ‘usksown{nes of desire Might we name this congealed soit the boy? As single name given ‘Suge the non-materal bss of deni In Weber and Roly A Cue fora Cac tid (1624-2), for instance he illor Compas returns om fous yas a setae that swe has ad cil by another man. Despite this taring fact, Compass nds bearing ih an decies he wil rae the cid as his own he bilo {father abet ec he as purchased some land he wants to pst on tthe ‘SMa (his own wife cannot hae cen, Tere aze two seenes where the cis tstdy is debuts ut the tay Half never appeats. There i however, a sage “Sct tefin sxe nding tha he babys inally brought on, hough we fue no evidence to show whether such 2 character was produced or nt. Even ‘le lrgely absent then, A Cre for Caco indicates the presence of the baby Iie en of splay stark contrast 10 A Midsummer Nights Dreams esohte ‘eisance to making vse the abet cause of desi. TnThomas Mays The Her (16D), Franciaco wants to mary Lace eventhough herlaler objeto erence in hee soca stu (his slow ers high) The Sexe we tse he hrc inthe ply theese beige by oer cn Pancho Le pga, Ps oe ng ti pe Ste imo them pt rh hr cs it ean come toes ha lh orth he dct ee ha ae (to ame Sao) a never he ice ha wk ene Sptosh anasto irae anc Pic ad usin cance et mai Lass therapy that ty il ee spay om mag amt eh ol tng apie le ot feria Ain poi Lice nd ance sel tha hey ben low longhair nce ne eae “his aby doesnot spear on age taller teen ge ton towaads the end that indetes ts presence—and certain te eet of Shloe? ae itevehgh hdries i py ae dle ite ch arch so drs ee hp dent he bay woo rsh ar spt dee he tangent of ees ie fest ois ct pret yl the ha te pl nt pe Non-material desire The ent aio ea the iit cords addy hs seemstobe salma special strpos ate the question of what rns ind how ean ogi nme Nits ream ges arg th Gs ight ot reo ey ec tue th bn tbc, Desc mii abo nt dae ebjers th ect te tel in ay way bene the ae Body neve mara nh ae In malig goo, Shp ae io thee ‘ocala dou uo phir ow an hoy be sled ‘thay fe opt a hha ny theses of ‘wna eaten woud sem behets fran ndrsunng clogs andj of de Bain ioe gs Drea nd Rome and ate Ne Komen hee Pe

    You might also like