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. |
From inside the book
Results 1-5 of 47
Page 5
... Lord Chamberlain's Men's Tour of 1597 56 PETER DAVISON Stage Directions for Music and Sound Effects in 2-3 Henry VI : " No Quarrel , but a slight Contention " 72 PETER M. WRIGHT " Misconstruing Everything " : Julius Caesar and Sejanus ...
... Lord Chamberlain's Men's Tour of 1597 56 PETER DAVISON Stage Directions for Music and Sound Effects in 2-3 Henry VI : " No Quarrel , but a slight Contention " 72 PETER M. WRIGHT " Misconstruing Everything " : Julius Caesar and Sejanus ...
Page 9
... Lord Chamberlain's Men , in Marlborough tells us much about Elizabethan actors ' ability to adapt and reshape Shake- speare's plays in performance . Davison thus provides an excellent foundation for Alan Brissenden's essay on modern ...
... Lord Chamberlain's Men , in Marlborough tells us much about Elizabethan actors ' ability to adapt and reshape Shake- speare's plays in performance . Davison thus provides an excellent foundation for Alan Brissenden's essay on modern ...
Page 37
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 54
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 55
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
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?