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dc.contributor.authorHolderness, G.
dc.contributor.editorBaker, Francis
dc.contributor.editorHulme, Peter
dc.contributor.editorIversen, Margaret
dc.identifier.citationHolderness , G 1991 , Production, reproduction, performance: marxism, history, theatre . in F Baker , P Hulme & M Iversen (eds) , In: Uses of History: Marxism, Postmodernism and the Renaissance (Literature, politics, theory: the Essex symposia) . University of Manchester Press , Manchester , pp. 153-178 .
dc.identifier.otherPURE: 369340
dc.identifier.otherPURE UUID: 3d748ea8-3e06-41c3-bc1b-0048283bc3a0
dc.descriptionCopyright Manchester University Press [Full text of this chapter is not available in the UHRA]
dc.description.abstractA metatheatrical approach to the dramatic and theatrical dimensions of the ‘story’ of the Henriad presupposes a standpoint outside the normal limits of what has been called ‘stage-centred’ reading. It calls for a project that is doggedly textual in orientation, and is thus antitheatrical: it will generate readings that do not readily lend themselves to performance and that will necessarily draw fire from stage-centred critics. But that, in a perverse way, is my point: that the antitheatricality of the readings I shall give reflects an antitheatricality in the Shakespeare text. (Harry Berger, Jr).en
dc.publisherUniversity of Manchester Press
dc.relation.ispartofIn: Uses of History: Marxism, Postmodernism and the Renaissance (Literature, politics, theory: the Essex symposia)
dc.titleProduction, reproduction, performance: marxism, history, theatreen
dc.contributor.institutionSchool of Humanities
dc.contributor.institutionSocial Sciences, Arts & Humanities Research Institute
dc.contributor.institutionEnglish Literature and Creative Writing
dc.contributor.institutionEnglish Literature
dc.description.statusNon peer reviewed
dc.relation.schoolSchool of Humanities

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