Shakespeare Performed: Essays in Honor of R.A. FoakesMany 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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... interpretations of Jonathan Bate , Philip Edwards , and Alexan- der Leggatt , to the various critical approaches of John Russell Brown , G. R. Proudfoot , Grace loppolo , Michael Hattaway . Carol Chillington Rutter , Alan Brissenden ...
... interpretations of Jonathan Bate , Philip Edwards , and Alexan- der Leggatt , to the various critical approaches of John Russell Brown , G. R. Proudfoot , Grace loppolo , Michael Hattaway . Carol Chillington Rutter , Alan Brissenden ...
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... Interpretation Shakespeare's Foolosophy 17 JONATHAN BATE Shakespeare's Sense of Direction 33 M. M. MAHOOD Commerce and Patronage : The Lord Chamberlain's Men's Tour of 1597 56 PETER DAVISON Stage Directions for Music and Sound Effects ...
... Interpretation Shakespeare's Foolosophy 17 JONATHAN BATE Shakespeare's Sense of Direction 33 M. M. MAHOOD Commerce and Patronage : The Lord Chamberlain's Men's Tour of 1597 56 PETER DAVISON Stage Directions for Music and Sound Effects ...
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... interpretations of Jonathan Bate , Philip Edwards and Alexander Leggatt , to the performance , film , and theoretical ... interpretation which creates text , in that order and sequence , and second that text , performance , and interpre ...
... interpretations of Jonathan Bate , Philip Edwards and Alexander Leggatt , to the performance , film , and theoretical ... interpretation which creates text , in that order and sequence , and second that text , performance , and interpre ...
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Essays in Honor of R.A. Foakes R. A. Foakes Grace Ioppolo. I Shakespeare Performed in His Time : Theatre , Text , and Interpretation Shakespeare's Foolosophy JONATHAN BATE SHAKESPEARIAN CRITICISM AT THE END OF.
Essays in Honor of R.A. Foakes R. A. Foakes Grace Ioppolo. I Shakespeare Performed in His Time : Theatre , Text , and Interpretation Shakespeare's Foolosophy JONATHAN BATE SHAKESPEARIAN CRITICISM AT THE END OF.
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Contents
17 | |
Shakespeares Sense of Direction | 33 |
The Lord Chamberlains Mens Tour of 1597 | 56 |
No Quarrel but a slight Contention | 72 |
Julius Caesar and Sejanus | 88 |
Three Detachable Scenes | 108 |
Representing Falsehood | 122 |
The First Performances of Shakespeares Sonnets | 131 |
Aspects of King Lear in Performance | 198 |
Sleeves Gloves and Helens Placket | 216 |
Australian Shakespeare | 240 |
Cutting Women Down to Size in the Olivier and Loncraine Films of Richard III | 260 |
Film Editing | 273 |
Afterword | 299 |
306 | |
Notes on Contributors | 308 |
Common terms and phrases
action actors Andrew Gurr Angelo appear Arden argued audience Australian Ben Jonson Branagh's Cambridge University Press Cassius Chamberlain's character comedy conflated costume Cressida critics director door dramatic Duke Edgar edition editors Edmund effect Elizabethan English entrance entry essay exits Eyre Eyre's father Foakes Folio text Gloucester Hamlet Helen Henry Henry VI interpretation Isabella John Jonathan Bate Jonson Juliet Julius Caesar King Lear language Lear's lines Loncraine film London lord Lord Chamberlain's Men Macbeth Marlborough Measure for Measure modern Olivier Ophelia Oxford Pembroke performance Peter Peter Davison play's Players Poet political production Quarto and Folio Queen R. A. Foakes reading Reg Foakes Richard Richard III role royal scene screenplay seems Sejanus Shake Shakespeare's plays Shakespearian Sonnets speak speare speare's speech stage directions suggests Sydney textual theatre theatrical thou tion Titus tour tragedy Troilus Troilus and Cressida William Shakespeare women words
Popular passages
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.
Page 21 - A man may see how this world goes, with no eyes. Look with thine ears: see how yon' justice rails upon yon' simple thief. Hark, in thine ear: Change places; and, handydandy, which is the justice, which is the thief?