Description - How Plays Work by Martin Meisel
Why are readers who are generally at home with narrative and discursive prose, and even readily responsive to poetry, far less confident and intuitive when it comes to plays? The complication lies in the twofold character of the play as it exists on the page - as a script or score to be realized, and as literature. Martin Meisel's engaging account of how we read play plays on the page shows that the path to the fullest imaginative response is an understanding of how plays work. What is entailed is something like learning a language - vocabulary, grammar, syntax - but learning also how the language operates in those concrete situations where it is deployed. Meisel begins with a look at matters often taken for granted in coding and convention, and then - under 'Beginnings' - at what is entailed in establishing and entering the invented world of the play. Each succeeding chapter is a gesture at enlarging the scope: 'Seeing and Hearing', 'The Uses of Place', 'The Role of the Audience', 'The Shape of the Action', and 'The Action of Words'.
The final chapters, 'Reading Meanings' and 'Primal Attractions', explore ways in which both the drive for significant understanding and the appetite for wonder can and do find satisfaction and delight. Cultivated in tone and jargon-free, How Plays Work is illuminated by dozens of judiciously chosen examples from western drama - from classical Greek dramatists to contemporary playwrights, both canonical and relatively obscure. It will appeal as much to the serious student of the theatre as to the playgoer who likes to read a play before seeing it performed.
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(240mm x 164mm x 19mm)
Oxford University Press
Publisher: Oxford University Press
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Book Reviews - How Plays Work by Martin Meisel
Author Biography - Martin Meisel
Martin Meisel is the Brander Matthews Professor Emeritus of Dramatic Literature (the oldest such chair in America). He is the author of Shaw and the Nineteenth-Century Theater (Princeton and Oxford), Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England (Princeton), as well as numerous essays and articles on drama and the visual arts. He has been the recipient of two Guggenheim Foundation Fellowships, an American Council of Learned Societies Fellowship, residential fellowships at the National Humanities Center, the Woodrow Wilson International Center for Scholars, and the Institute for Advanced Study in the Humanities (Edinburgh); and of awards from the American Philosophical Society and the Huntington Library among others. In 2003 he received the Presidential Award for Outstanding Teaching at Columbia.