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nine “Nobody. I Myself”: Discovering What Passes Show
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Published:March 2010
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Abstract
Shakespeare's comic reflections on the psychology of mise-en-scène in A Midsummer Night's Dream open the way to think freshly about the function of rhetorical anthropology in his plays. The roles of Pyramus the lover, Thisby the lady, Thisby's mother, Pyramus's father, and Lion come ready-made in the actors' parts as originally represented in Quince's description. They are dramatis personae rather than characters. They become characters only when they are performed alongside Wall or before Ninny's tomb—that is, when time, place, and position hail them forth (qualify them, in the language of dialectical specification), for only in these particular circumstances do the actors find themselves situated and called upon to answer according to their capacities. In such represented situatings, can we find refractions of Shakespeare's practice of eliciting subject from self in the course of transforming plot to playbook?
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