By Stratos E. Constantinidis
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Extra info for Text & Presentation, 2007 (Text & Presentation) (The Comparative Drama Conference Series)
_____. ” In Contemporary Plays by Women of Color, edited by Kathy A. Perkins and Roberta Uno, 230–261. New York: Routledge, 1996. Morton, Carlos. ” El Grito 7, (1974): 7–37. _____. ” The Many Deaths of Danny Rosales and Other Plays, 105–128. Houston: Arte Público, 1983. _____. ” The Many Deaths of Danny Rosales and Other Plays, 7–49. Houston: Arte Público, 1983. _____. ” Types of Drama, edited by Sylvan Burnet, Morton Berman, William Burto and Ben Draya, 809–832. R. Donnelley & Sons, 1997. Nericcio, William.
Shapiro, was probably written by Campion after the masque’s court performance (1967:100) and before publication. To the story portrayed in the frieze of Prometheus sculpting and then animating women with fire stolen from heaven, Campion has conflated the Pygmalion story of a sculptor who creates his own mate. This retelling of the myth seems to be animated by allusions to Shakespeare’s own “Pygmalion” scene. Campion’s masque further complicates the story by requiring that Prometheus, playing “Paulina” here, once again animate womankind, whose representatives have been turned to stone by the anger of the “Leontes” character, Jove.
Both the quarto and folio editions suggest that this solemn occasion is marked by comic disruption in the first anti-masque of animated statues. The comedy, moreover, derives explicitly from the animation of gold-leafed, stifflimbed statues trying to catch their partners (equally clumsy blind cupids) and dance elegant measures. Is this the “graceful” scene promised in the folio’s “Argument”? Beaumont seems not to imitate Shakespeare’s spectacle of Hermione’s animation on stage, but to burlesque it, particularly in the notes to the quarto edition, where the animated statues can’t quite escape the clumsy stiffness that is part of their stony nature.