The collection, edited by Annalisa Castaldo and Rhonda Knight, features essays by scholars interested in exploring how the material culture of sixteenth and early seventeenth English theatrical culture influenced the creation and presentation of drama and how understanding this culture can enrich scholars' current interactions with these plays as well as offer insights to actors and directors. The essays include discussions of plays by Shakespeare, Marlowe, and Middleton as well as lesser known works and playwrights. This collection is unique in that it includes the body of the actor as a material object that is encountered and manipulated by other actors on the stage. These essays demonstrate how props, bodies and the architectural dimensions of early modern stages have both practical and symbolic registers.

Shakespearean Temporalities addresses a critical neglect in Early Modern Performance and Shakespeare Studies, revising widely prevailing and long-standing assumptions about the performance and reception of history on the early modern stage. Demonstrating that theatre, at the turn of the seventeenth century, thrived on an intense fascination with perceived tensions between (medieval) past and (early modern) present, this volume uncovers a dimension of historical drama that has been largely neglected due to a strong focus on nationhood and a predilection for 'topical' readings. It moreover reassesses genre conventions by venturing beyond the threshold of the supposed "death of the history play," in 1603. Closely analysing a broad range of Shakespeare's historical drama, it explores the dramatic techniques that allow the theatre to perform historical distance. An experience of historical contingency through an immersion in a world ontologically related yet temporally removed is thus revealed as a major appeal of historical drama and a striking aspect of Shakespeare's history plays. With a focus on performance, the experience of playgoers, and the dynamics that resulted from the collective production of dramatic historiography by competing companies, the book offers the first analysis of what can be referred to as Shakespeare's dramaturgy of historical temporality.

This is a revised version of the book which was privately published by the author in 1982. At the time, the book was widely welcomed by Shakespearean scholars as a trenchant, scholarly and highly original contribution to the field of Shakespearean studies. The book's argument is that a full response to Shakespearean tragedy has to take account of the fate of the victims as well as of the tragic heroes; and this thesis is illustrated and developed by a consideration of Lavinia, Lucrece and the children in Richard III, Macbeth and King John; and to the three principal Shakespearean tragic victims, Ophelia, Desdemona and Cordelia. The author is a Lecturer in the Department of English at the University of Newcastle upon Tyne. his other works include 'Let Wonder Seem Familiar: Endings in Shakespeare's Romance Vision' and 'Keats as a Reader of Shakespeare'(forthcoming).

Few playwrights have been more slandered, abused or honoured in performance than William Shakespeare. First published in 1992, this collection of 300 stories focuses on Shakespeare's plays on stage. Organised chronologically, it offers the reader the opportunity to witness the changes in theatrical approaches to Shakespeare from their own time to the present day. This book will be of interest to those studying theatre, but also to those fascinated by the Shakespeare tradition.

Like many of his fellow playwrights, Shakespeare turned to national history for inspiration. In this study, Dominique Goy-Blanquet provides a close comparison of the Henry VI plays and Richard III with their sources, demonstrating how Shakespeare was able to meet not only the ideological but also the technical problems of turning history into drama, how by cutting, carving, shaping, and casting his unwieldy material into performable plays, he matured into the most influential dramatist and historian of his time.

Is there anything more to say on Hamlet? Hide fox, and all after, a casual quip of the Prince, as he and his enemy the King start to hunt each other down, is taken as the title for this closely-considered survey of the play. J D Winter finds question after question in it raised and unanswered, as if the plays dramatic method were in part to create uncertainty in its audience and so draw them in. He adopts three phrases from the text to provide a context for his approach: the plays the thing, a rhapsody of words, and the invisible event. The first phrase suggests the spectacle itself, without regard to what has been written about it. There is no reference to outside opinion nor is another literary work named. The second indicates an awareness of the text as poem. While the tremendous sweep of Shakespearean blank verse, the prose-paragraphs on fire with their own poetry, the whispering gallery of metaphor, can scarcely be accorded proper respect in a prose commentary, certain rhapsodic effects are everywhere noted. Finally, the play is contained within a mystery. So much seems to happen; so little seems to happen. Almost all the major characters are subject to a pattern of error in their dealings as they are swept on from one catastrophic misjudgement to another. The level to which the play is focussed upon the blind time between events is unusually high. This too draws in the audience; it is a part of the spectators own internal experience. There can be no definitive answer to Hamlet or Hamlet. But like a signpost in a swarming mist, the third phrase may offer a faint clue: the invisible event.

Virtue, as a Renaissance ideal, was largely conceived as a rational governing of unruly passions. Revising this early modern commonplace, this study shows how Shakespeare dramatizes a discerning Aristotelian conception of virtue as a touchstone of excellence: executing just action at the best time, in the best way, and for the best end within the contingent world. Not only situational, Aristotelian virtue is, moreover, integrative, harmonizing passion and reason, will and understanding, towards personal and civil good. Yet as a surprising backfire on the misogynist streak in Aristotle, the resistant female characters in Shakespeare emerge as the exemplars of ethical action, appropriating traditionally male-inflected virtue. At the junction of ethical, psycho-physiological, cultural and gender studies, this approach of prudential psychology bridges an apparent but needless divergence of critical focus between affect and cognition, ethics and prudential action. Firmly situated in new historicist practices, prudential psychology goes beyond narrow discourses of power into the all-encompassing arena of virtue as the complete life, which recommends an interdisciplinary approach for a fuller understanding of Shakespeare's works.

Shakespeare and Spenser: Attractive opposites is a much-needed volume that brings together ten original papers by experts on the relations between Spenser and Shakespeare. There has been much noteworthy work on the linguistic borrowings of Shakespeare from Spenser, but the subject has never before been treated systematically, and the linguistic borrowings lead to broader-scale borrowings and influences which are treated here. An additional feature of the book is that for the first time a large bibliography of previous work is offered which will be of the greatest help to those who follow up the opportunities offered by this collection. Shakespeare and Spenser: Attractive opposites presents new approaches, heralding a resurgence of interest in the relations between two of the greatest Renaissance English poets to a wider scholarly group and in a more systematic manner than before. This will be of interest to Students and academics interested in Renaissance literature. -- .

Exploring Shakespeare's intellectual interest in placing both characters and audiences in a state of uncertainty, mystery, and doubt, this book interrogates the use of paradox in Shakespeare's plays and in performance. By adopting this discourse-one in which opposites can co-exist and perspectives can be altered, and one that asks accepted opinions, beliefs, and truths to be reconsidered-Shakespeare used paradox to question love, gender, knowledge, and truth from multiple perspectives. Committed to situating literature within the larger culture, Peter Platt begins by examining the Renaissance culture of paradox in both the classical and Christian traditions. He then looks at selected plays in terms of paradox, including the geographical site of Venice in Othello and The Merchant of Venice, and equity law in The Comedy of Errors, Merchant, and Measure for Measure. Platt also considers the paradoxes of theater and live performance that were central to Shakespearean drama, such as the duality of the player, the boy-actor and gender, and the play/audience relationship in the Henriad, Hamlet, As You Like It, Twelfth Night, Antony and Cleopatra, The Winter's Tale, and The Tempest. In showing that Shakespeare's plays create and are created by a culture of paradox, Platt offers an exciting and innovative investigation of Shakespeare's cognitive and affective power over his audience.

Hamlet on the Couch weaves a close reading of Shakespeare's Hamlet with a large variety of contemporary psychoanalytic and psychological theory, looking at the interplay of ideas between the two. Hamlet can be read almost as a psychoanalytic case study and be used to understand and illustrate a range of core psychoanalytic concepts. Covering such basic psychoanalytic concepts as identity, transference and countertransference, the 'good-enough' mother, the compulsion to repeat and the death instinct, James E. Groves shows how Hamlet can shed new light on understanding psychoanalytic theory, and how psychoanalysis can in turn enrich our understanding of Shakespeare's work. Perhaps the most radical feature of psychoanalysis is its tradition of self-examination. Mirroring it, the book throughout uses an eclectic, subjective critical approach to study how the poetry of Hamlet creates its realistically flawed and believably complex characters. Combining deep, insightful knowledge of Shakespeare and of psychoanalysis, Hamlet on the Couch will be of great interest to psychoanalysts and psychoanalytic psychotherapists, as well as literary scholars.

This book offers a comprehensive account of the methods and practice of learning modern languages, particularly Italian, in late sixteenth- and early seventeenth-century England. It is the first study to suggest that there is a fundamental connection between these language-learning habits and the techniques for both reading and imitating Italian materials employed by a range of poets and dramatists, such as Daniel, Drummond, Marston and Shakespeare, in this period. The widespread use of bilingual parallel-text instruction manuals from the 1570s onwards, most notably those of the Italian teacher John Florio, highlights the importance of translation in the language-learning process. More advanced students attempt translation exercises from Italian poetry to increase their linguistic fluency, but even beginners are encouraged to use the translations in these manuals as a means of careful parallel reading. This study emphasises the impact of both aspects of language-learning translation on contemporary habits of literary imitation, in its detailed analyses of Daniel's sonnet sequence 'Delia' and his pastoral tragicomedies, and Shakespeare's use of Italian materials in Measure for Measure and Othello. By focusing on Shakespeare as a typical language-learner of the period (one who is certainly familiar with Florio's two manuals), the book argues that the playwright was clearly influenced by these Italian reading practices.

This book examines laughter in the Shakespearean theatre, in the context of a cultural history of early modern laughter. Aimed at an informed readership as well as graduate students and scholars in the field of Shakespeare studies, it is the first study to focus specifically on laughter, not comedy. It looks at various strands of the early modern discourse on laughter, ranging from medical treatises and courtesy manuals to Puritan tracts and jestbook literature. It argues that few cultural phenomena have undergone as radical a change in meaning as laughter. Laughter became bound up with questions of taste and class identity. At the same time, humanist thinkers revalorised the status of recreation and pleasure. These developments left their trace on the early modern theatre, where laughter was retailed as a commodity in an emerging entertainment industry. Shakespeares plays both reflect and shape these changes, particularly in his adaptation of the Erasmian wise fool as a stage figure, and in the sceptical strain of thought that is encapsulated in the laughter evoked in the plays. -- .

Drugs and Theater in Early Modern England asks why Shakespeare and his contemporary playwrights were so preoccupied with drugs and poisons and, at a deeper level, why both critics and supporters of the theater, as well as playwrights themselves, so frequently adopted a chemical vocabulary to describe the effects of the theater on audiences. Drawing upon original medical and literary research, Pollard shows that the potency of the link between drugs and plays in the period demonstrates a model of drama radically different than our own, a model in which plays exert a powerful impact on spectators' bodies as well as minds. Early modern physiology held that the imagination and emotions were part of the body, and exerted a material impact on it, yet scholars of medicine and drama alike have not recognised the consequences of this idea. Plays, which alter our emotions and thought, simultaneously change us physically. This book argues that the power of the theater in early modern England, as well as the striking hostility to it, stems from the widely held contemporary idea that drama acted upon the body as well as the mind. In yoking together pharmacy and theater, this book offers a new model for understanding the relationship between texts and bodies. Just as bodies are constituted in part by the imaginative fantasies they consume, the theater's success (and notoriety) depends on its power over spectators' bodies. Drugs, which conflate concerns about unreliable appearances and material danger, evoked fascination and fear in this period by identifying a convergence point between the imagination and the body, the literary and the scientific, the magical and the rational. This book explores that same convergence point, and uses it to show the surprising physiological powers attributed to language, and especially to the embodied language of the theater.

Through an examination of five plays by Shakespeare, Paul Raffield analyses the contiguous development of common law and poetic drama during the first decade of Jacobean rule. The broad premise of The Art of Law in Shakespeare is that the 'artificial reason' of law was a complex art form that shared the same rhetorical strategy as the plays of Shakespeare. Common law and Shakespearean drama of this period employed various aesthetic devices to capture the imagination and the emotional attachment of their respective audiences. Common law of the Jacobean era, as spoken in the law courts, learnt at the Inns of Court and recorded in the law reports, used imagery that would have been familiar to audiences of Shakespeare's plays. In its juridical form, English law was intrinsically dramatic, its adversarial mode of expression being founded on an agonistic model. Conversely, Shakespeare borrowed from the common law some of its most critical themes: justice, legitimacy, sovereignty, community, fairness, and (above all else) humanity. Each chapter investigates a particular aspect of the common law, seen through the lens of a specific play by Shakespeare. Topics include the unprecedented significance of rhetorical skills to the practice and learning of common law (Love's Labour's Lost); the early modern treason trial as exemplar of the theatre of law (Macbeth); the art of law as the legitimate distillation of the law of nature (The Winter's Tale); the efforts of common lawyers to create an image of nationhood from both classical and Judeo-Christian mythography (Cymbeline); and the theatrical device of the island as microcosm of the Jacobean state and the project of imperial expansion (The Tempest).

This book contains everything you need to write better A-Level and Undergraduate English essays on William Shakespeare's 'Hamlet', all presented in a helpful and entertaining way to make study and revision easier. There are clear notes on the characters, themes, language techniques and critical context, plus practice questions to make sure you understand the main points. There's also a section dedicated to writing about 'Hamlet' to help you improve your grades.

The startling central idea behind this study is that the rediscovery of Aristotle's Poetics in the sixteenth century ultimately had a profound impact on almost every aspect of Shakespeare's late plays"their sources, subject matter and thematic concerns. Shakespeare's Poetics reveals the generic complexity of Shakespeare's late plays to be informed by contemporary debates about the tonal and structural composition of tragicomedy. Author Sarah Dewar-Watson re-examines such plays as The Winter's Tale, Pericles and The Tempest in light of the important work of reception which was undertaken in Italy by pioneering theorists such as Giambattista Giraldi Cinthio (1504-73) and Giambattista Guarini (1538-1612). The author demonstrates ways in which these theoretical developments filtered from their intellectual base in Italy to the playhouses of early modern England via the work of dramatists such as Jonson and Fletcher. Dewar-Watson argues that the effect of this widespread revaluation of genre not only extends as far as Shakespeare, but that he takes a leading role in developing its possibilities on the English stage. In the course of pursuing this topic, Dewar-Watson also engages with several areas of current scholarly debate: the nature of Shakespeare's authorship; recent interest in and work on Shakespeare's later plays; and new critical work on Italian language-learning in Renaissance England. Finally, Shakespeare's Poetics develops current critical thinking about the place of Greek literature in Renaissance England, particularly in relation to Shakespeare.

What makes a Shakespeare production political? Can Shakespeare's plays ever be truly radical?
Revealing the unspoken politics of Shakespeare's plays on stage, Andrew Hartley examines their nature, agenda, limits and potential. In considering key theoretical issues, analysing a wide range of productions, and engaging in a collaborative debate with Professor Ayanna Thompson, Hartley highlights a more consciously political approach to making theatre out of Shakespeare's scripts - and to experiencing it as an audience. Dynamic and provocative, this book is a crucial text for students and theatre practitioners alike.

This stimulating and accessible book is intended for instructors at the junior high school, high school, and undergraduate levels who present Shakespeare's most familiar tragedies to students who are largely unfamiliar with them. Acclaimed teacher of drama Victor L. Cahn begins with a general introduction, then examines six of Shakespeare's tragedies: Romeo and Juliet, Julius Caesar, Hamlet, Othello, King Lear, and Macbeth. With attention always directed towards inspiring student interest and response, Professor Cahn provides an overview or "spine" for each work, then proceeds scene by scene, focusing on salient characters, details of language, and major themes. The volume not only is entertaining and clear, but also raises provocative points of interpretation as well as numerous questions for discussion. Underlying the project is the conviction that although the plays are most effective in performance, they can nonetheless prove compelling in the classroom, where students can appreciate that although these works are set in a distant time and place, their issues and implications remain universal.

This stimulating and accessible book is intended for instructors at the junior high school, high school, and undergraduate levels who present some of Shakespeare's most familiar works to students who are largely unfamiliar with them. Acclaimed teacher of drama Victor L. Cahn begins with a general introduction, then examines seven of Shakespeare's plays: THE TAMING OF THE SHREW, A MIDSUMMER NIGHT'S DREAM, THE MERCHANT OF VENICE, TWELFTH NIGHT, RICHARD II, HENRY IV, PART 1, and THE TEMPEST. With attention always directed towards inspiring student interest and response, Professor Cahn provides an overview or "spine" for each work, then proceeds scene by scene, focusing on salient characters, details of language, and major themes. The volume not only is entertaining and clear, but also raises provocative points of interpretation as well as numerous questions for discussion. Underlying the project is the conviction that although the plays are most effective in performance, they can nonetheless prove compelling in the classroom, where students can appreciate that although these works are set in a distant time and place, their issues and implications remain universal.

This collection of essays is part of a new phase in Shakespeare studies. The traditional view of Shakespeare is that he was a man of the theater who showed no interest in the printing of his plays, producing works that are only fully realized in performance. This view has recently been challenged by critics, arguing that Shakespeare was a literary "poet-playwright," concerned with his readers as well as his audiences. "Shakespeare's Book" offers a vital contribution to this critical debate, and examines its wider implications for how we conceive of Shakespeare and his works. Bringing together an impressive group of international Shakespeare scholars, the volume explores both Shakespeare's relationship with actual printers, patrons, and readers, and the representation of writing, reading, and print within his works themselves.

This stimulating and accessible book is intended for instructors at the junior high school, high school, and undergraduate levels who present Shakespeare's most familiar tragedies to students who are largely unfamiliar with them. Acclaimed teacher of drama Victor L. Cahn begins with a general introduction, then examines six of Shakespeare's tragedies: Romeo and Juliet, Julius Caesar, Hamlet, Othello, King Lear, and Macbeth. With attention always directed towards inspiring student interest and response, Professor Cahn provides an overview or "spine" for each work, then proceeds scene by scene, focusing on salient characters, details of language, and major themes. The volume not only is entertaining and clear, but also raises provocative points of interpretation as well as numerous questions for discussion. Underlying the project is the conviction that although the plays are most effective in performance, they can nonetheless prove compelling in the classroom, where students can appreciate that although these works are set in a distant time and place, their issues and implications remain universal.

This stimulating and accessible book is intended for instructors at the junior high school, high school, and undergraduate levels who present some of Shakespeare's most familiar works to students who are largely unfamiliar with them. Acclaimed teacher of drama Victor L. Cahn begins with a general introduction, then examines seven of Shakespeare's plays: THE TAMING OF THE SHREW, A MIDSUMMER NIGHT'S DREAM, THE MERCHANT OF VENICE, TWELFTH NIGHT, RICHARD II, HENRY IV, PART 1, and THE TEMPEST. With attention always directed towards inspiring student interest and response, Professor Cahn provides an overview or "spine" for each work, then proceeds scene by scene, focusing on salient characters, details of language, and major themes. The volume not only is entertaining and clear, but also raises provocative points of interpretation as well as numerous questions for discussion. Underlying the project is the conviction that although the plays are most effective in performance, they can nonetheless prove compelling in the classroom, where students can appreciate that although these works are set in a distant time and place, their issues and implications remain universal.

Hamlet stands as a high water mark of canonical art, yet it has equally attracted rebels and experimenters, those avant-garde writers, dramatists, performers, and filmmakers who, in their adaptations and appropriations, seek new ways of expressing innovative and challenging thoughts in the hope that they can change perceptions of their own world. One reason for this, as the book argues, is that the source text that is their inspiration was written in the same spirit. Hamlet as a work of art exhibits many aspects of the "vanguard" movements in every society and artistic milieux, an avant-garde vision of struggle against conformity, which retains an edge of provocative novelty. Accordingly, it has always inspired unorthodox adaptations and can be known by a neglected portion of the company it keeps, the avant-garde in every age. After placing Hamlet alongside "cutting edge" works in Shakespeare's time, such as Marlowe's Doctor Faustus and Kyd's The Spanish Tragedy, chapters deal with the ways in which experimental writers, theatre practitioners, and film-makers have used the play down to the present day to develop their own avant-garde visions. This is a part of the uncanny ability of Shakespeare's Hamlet to be "ever-now, ever-new."

Lear is too much. There's too much to stomach, an overdoing of massive wickednesses which rightly provoked perhaps the most famous reaction to King Lear ever, Dr Samuel Johnson's horror in his Prefaces to his Shakespeare (1765) over the blinding of Gloucester -"an act too horrid to be endured in dramatick exhibition" - and the death of Cordelia: "contrary to the natural ideas of justice, to the hope of the reader, and, what is yet more strange, to the faith of the chronicles". There are indeed just too many awful enhancements of the Lear stories Shakespeare drew on, a superfluity of terrible things - and of course these, as Valentine Cunningham says, are uneasily central to a play which teaches the immorality of the well-off having a "superflux" of money and things when the poor have so little. So what explains the dramatic success of Lear? The great critic A.C. Bradley had grave reservations about it, but he conceded, this play was the "fullest revelation of Shakespeare's power" - up there with Aeschylus's Prometheus Bound, Dante's Divine Comedy, Beethoven's symphonies and Michelangelo's statues; the most moving and daunting of tragic experiences the world has ever known promoted by a greatly trashy plot, or, as the poet and critic D. J. Enright puts in his lively book about teaching Shakespeare, Shakespeare and the Students (1970): "It is possible that Shakespeare never did anything more awe-inspiring, more improbable-seeming than this - to take a petulant old retired monarch, drive him mad and stick flowers in his hair, and still end with a figure of tragedy."

Long before the economist Amartya Sen proposed that more than 100 million women were missing-lost to disease or neglect, kidnapping or forced marriage, denied the economic and political security of wages or membership in a larger social order-Shakespeare was interested in such women's plight, how they were lost, and where they might have gone. Characters like Shakespeare's Cordelia and Perdita, Rosalind and Celia constitute a collection of figures related to the mythical Persephone who famously returns to her mother and the earth each spring, only to withdraw from the world each winter when she is recalled to the underworld. That women's place is far from home has received little attention from literary scholars, however, and the story of their fraught relation to domestic space or success outside its bounds is one that hasn't been told. Women and Mobility investigates the ways Shakespeare's plays link female characters' agency with their mobility and thus represent women's ties to the household as less important than their connections to the larger world outside. Female migration is crucial to ideas about what early modern communities must retain and expel in order to carve a shared history, identity and moral framework, and in portraying women as "sometime daughters" who frequently renounce fathers and homelands, or queens elsewhere whose links to faraway places are vital to the rebuilding of homes and kingdoms, Shakespeare also depicts global space as shared space and the moral world as an international one.