Embodied Intersubjectivity and the Creation of Early Modern Character

Abstract

According to Thomas Heywood in his Apology for Actors (1612), theater takes place in a place between—between the performance and the spectator as the above suggests, but also, as he elsewhere makes clear, between the performer and the performed; or, to use his words, between the “personater”[ sic ] and the “person personated” (B4r; C4r). The challenge, however, is to establish how persons were conceptualized, and by what process the person personated became, in a sense that both early moderns and we today might understand, a character. In addition, if it is, as Heywood suggests, spectators’ eyes that make a play bad or good, how are we to describe the contribution of the spectator to a discussion of character on the early modern stage? These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 6 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.