Shakespeare Performed: Essays in Honor of R.A. Foakes
Many of the contributors to this collection, including E. A. J. Honigmann, M. M. Mahood, Jonathan Bate, and Stanley Wells (among others), have been centrally involved in examining, promoting, and sometimes questioning the critical dominance of the stable Shakespeare text, particularly as a result of performance. The essays range from the traditional poetical and theater history inquiries through bibliographical examinations and hermeneutical interpretations.
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Shakespeares Sense of Direction
The Lord Chamberlains Mens Tour of 1597
No Quarrel but a slight Contention
Julius Caesar and Sejanus
Three Detachable Scenes
The First Performances of Shakespeares Sonnets
Aspects of King Lear in Performance
Sleeves Gloves and Helens Placket
Cutting Women Down to Size in the Olivier and Loncraine Films of Richard III
Notes on Contributors
action actors appear argued audience Australian authority becomes beginning Caesar Cambridge character close comes Cressida critics described directions director door Duke early Edgar edition effect Elizabethan English enter entrance entry essay example exits father film final Foakes Folio followed give given hall Hamlet hand Henry interpretation John Jonson kind King Lear language later less lines London look lord Macbeth means Measure nature notes opening Oxford performance perhaps Peter play play's political present production Quarto Queen question reading records reference Richard role royal scene screenplay seems sense Shake Shakespeare side soliloquy Sonnets sound space speak speech stage suggests textual theatre theatrical thing thought tion tour tragedy true turn University Press visited women writing York Young
Page 24 - Is man no more than this? Consider him well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume.