000			03502cam a22005414a 4500
001			musev2_59246
003			MdBmJHUP
005			20240815120748.0
006			m o d
007			cr||||||||nn|n
008			180629s2018 miu o 00 0 eng d
020			_a9780472901081
020			_z9780472123919
020			_z9780472053810
020			_z9780472073818
035			_a(OCoLC)1041033808
040			_aMdBmJHUP _cMdBmJHUP
043			_ae-uk-en
050		4	_aPN2590.G36 _bB564 2018
100	1		_aBloom, Gina, _eauthor.
245	1	0	_aGaming the Stage : _bPlayable Media and the Rise of English Commercial Theater / _cGina Bloom.
264		1	_aBaltimore, Maryland : _bProject Muse, _c2018
264		3	_aBaltimore, Md. : _bProject MUSE, _c2018
264		4	_c©2018
300			_a1 online resource (304 pages): _bcolor illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aTheater: theory/text/performance
500			_aIssued as part of book collections on Project MUSE.
504			_aIncludes bibliographical references (pages 245-265) and index.
505	0		_aGaming history -- Cards : imperfect information and male friendship -- Backgammon : space and scopic dominance -- Chess : performative history and dynastic marriage.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_aRich connections between gaming and theater stretch back to the 16th and 17th centuries, when England's first commercial theaters appeared right next door to gaming houses and blood-sport arenas. In the first book-length exploration of gaming in the early modern period, Gina Bloom shows that theaters succeeded in London's new entertainment marketplace largely because watching a play and playing a game were similar experiences. Audiences did not just see a play; they were encouraged to play the play, and knowledge of gaming helped them become better theatergoers. Examining dramas written for these theaters alongside evidence of analog games popular then and today, Bloom argues for games as theatrical media and theater as an interactive gaming technology. Gaming the Stage also introduces a new archive for game studies: scenes of onstage gaming, which appear at climactic moments in dramatic literature. Bloom reveals plays to be systems of information for theater spectators: games of withholding, divulging, speculating, and wagering on knowledge. Her book breaks new ground through examinations of plays such as The Tempest, Arden of Faversham, A Woman Killed with Kindness, and A Game at Chess; the histories of familiar games such as cards, backgammon, and chess; less familiar ones, like Game of the Goose; and even a mixed-reality theater videogame.
588			_aDescription based on print version record.
650		0	_aGames in the theater _zEngland _xHistory.
650		0	_aTheater _zEngland _xHistory _y17th century.
650		0	_aTheater _zEngland _xHistory _y16th century.
655		7	_aElectronic books. _2local
710	2		_aProject Muse, _edistributor.
776	1	8	_iPrint version: _z0472073818 _z9780472073818
710	2		_aProject Muse. _edistributor
830		0	_aTheater--theory/text/performance.
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/59246/
945			_aProject MUSE - 2018 Complete
945			_aProject MUSE - 2018 Film, Theater and Performing Arts
999			_c232024 _d232023