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 54
Page 7
... role as dedicated and generous teacher and mentor to all of us , his undergraduate and graduate students , collaborators , and colleagues . Reg completed his Ph.D. at the University of Birmingham and was one of the three original ...
... role as dedicated and generous teacher and mentor to all of us , his undergraduate and graduate students , collaborators , and colleagues . Reg completed his Ph.D. at the University of Birmingham and was one of the three original ...
Page 21
... roles . But close your eyes and listen , and the railing voice of the justice is as much an affront to the law of love and forgiveness as any act of theft could be . Robes and furred gowns hide all . Lear is about the decep- tiveness of ...
... roles . But close your eyes and listen , and the railing voice of the justice is as much an affront to the law of love and forgiveness as any act of theft could be . Robes and furred gowns hide all . Lear is about the decep- tiveness of ...
Page 28
... roles of which we are by no means in control . In Folly's eyes , " all this life of mortal men , what is it else , but a certain kind of stage play " ( Chaloner , 38 ) . History and theory are so much mere breath ; they are no more than ...
... roles of which we are by no means in control . In Folly's eyes , " all this life of mortal men , what is it else , but a certain kind of stage play " ( Chaloner , 38 ) . History and theory are so much mere breath ; they are no more than ...
Page 41
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Page 42
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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?