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"En France et en Italie, l'invention d'un théâtre pour la jeunesse entraîne l'apparition d'un nouveau protagoniste du champ théâtral, l'enfant, que les artistes vont mettre au coeur des processus de création. Des années 1960 à nos jours, on peut observer dans les deux pays une transition naturelle entre expérience artistique avec les jeunes et oeuvre dramatique à leur intention. On assiste ainsi à l'émergence de nouvelles formes théâtrales et, en France, à celle d'un répertoire dramatique qui appartient aujourd'hui de plein droit à la littérature de jeunesse. Alors que l'enfant personnage conquiert sa place dans les textes et sur les scènes, une relation spéculaire va s'instaurer entre l'enfant spectateur et son double."--Page 4 of cover.

Théâtre pour la jeunesse --- Théâtre et enfants --- Théâtre et jeunesse --- Théâtre français pour la jeunesse --- Théâtre italien pour la jeunesse --- Théâtre et jeunesse --- Études comparatives. --- Théâtre français pour la jeunesse --- Théâtre italien pour la jeunesse --- Theater and children --- Children's plays, French --- Children's plays, Italian --- Children in literature --- Theater and children - France --- Theater and children - Italy --- Children in literature. --- Children's plays, French. --- Children's plays, Italian. --- Theater and children. --- History and criticism. --- France. --- Italy.

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Children had surprisingly central roles in many of the public performances of the English Renaissance, whether in entertainments-civic pageants, children's theaters, Shakespearean drama-or in more grim religious and legal settings, as when children were "possessed by demons" or testified as witnesses in witchcraft trials. Taken together, such spectacles made repeated connections between child performers as children and the mimetic powers of fiction in general. In Pretty Creatures, Michael Witmore examines the ways in which children, with their proverbial capacity for spontaneous imitation and their imaginative absorption, came to exemplify the virtues and powers of fiction during this era.As much concerned with Renaissance poetics as with children's roles in public spectacles of the period, Pretty Creatures attempts to bring the antics of children-and the rich commentary these antics provoked-into the mainstream of Renaissance studies, performance studies, and studies of reformation culture in England. As such, it represents an alternative history of the concept of mimesis in the period, one that is built from the ground up through reflections on the actual performances of what was arguably nature's greatest mimic: the child.

Children --- Theater and children --- Children in literature. --- English literature --- Childhood in literature --- Children in poetry --- Children and theater --- Childhood --- Kids (Children) --- Pedology (Child study) --- Youngsters --- Age groups --- Families --- Life cycle, Human --- History --- History and criticism.

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Dutch literature --- Book history --- Theatrical science --- Thematology --- anno 1600-1699 --- anno 1500-1599 --- Amsterdam --- Nederland --- 839.3-2 "16" --- 094.1 <492 AMSTERDAM> --- 76.041.7 <492> --- 396 "16" --- Nederlandse literatuur: toneel; drama--17e eeuw. Periode 1600-1699 --- Oude drukken: bibliografie----Nederland--AMSTERDAM --- Grafische kunsten. Grafiek. Prentkunst--Populaire prentkunst.Volksprenten--Nederland --- Feminisme. Vrouwenbeweging. Vrouw en maatschappij--17e eeuw. Periode 1600-1699 --- Broadsides --- Farces in art. --- Theater and children --- Wood-engraving, Dutch --- History --- 396 "16" Feminisme. Vrouwenbeweging. Vrouw en maatschappij--17e eeuw. Periode 1600-1699 --- 76.041.7 <492> Grafische kunsten. Grafiek. Prentkunst--Populaire prentkunst.Volksprenten--Nederland --- 094.1 <492 AMSTERDAM> Oude drukken: bibliografie----Nederland--AMSTERDAM --- 839.3-2 "16" Nederlandse literatuur: toneel; drama--17e eeuw. Periode 1600-1699 --- Farces in art --- Dutch wood-engraving --- Children and theater --- Children --- Ballad-sheets --- Broadsheets --- Broadside ballads --- Journalism --- Street literature