The history of Shakespearean performance is very well served at its two extremes, with volumes providing a valuable historical overview of the subject and others concentrating on the performance history of a particular play. However, no individual volume provides an in-depth consideration of the stage histories of a number of plays, chosen for their particular significance within specific cultural contexts. Shakespeare in Stages addresses this gap. The original case studies explore significant anglophone performances of the plays, as well as ideas about 'Shakespeare', through the changing prisms of three different cultural factors that have proved influential in the way Shakespeare is staged: notions of authenticity, attitudes towards sex and gender, and questions of identity. Ranging from the sixteenth to the twenty-first centuries and examining productions of plays in Britain, USA, Canada, Australia, and South Africa, the studies focus attention on the complex interaction between particular plays, issues, events, and periods.

Scholars, amateur historians and actors have shaped theatre history in different ways at different times and in different places. This Companion offers students and general readers a series of accessible and engaging essays on the key aspects of studying and writing theatre history. The diverse international team of contributors investigates how theatre history has been constructed, showing how historical facts are tied to political and artistic agendas and explaining why history matters to us. Beginning with an introduction to the central narrative that traditionally informs our understanding of what theatre is, the book then turns to alternative points of view - from other parts of the world and from the perspective of performers in fields such as music-theatre and circus. It concludes by looking at how history is written in the 'democratic' age of the Internet and offers a new perspective on theatre history in our globalised world.

The history of Shakespearean performance is very well served at its two extremes, with volumes providing a valuable historical overview of the subject and others concentrating on the performance history of a particular play. However, no individual volume provides an in-depth consideration of the stage histories of a number of plays, chosen for their particular significance within specific cultural contexts. Shakespeare in Stages addresses this gap. The original case studies explore significant anglophone performances of the plays, as well as ideas about 'Shakespeare', through the changing prisms of three different cultural factors that have proved influential in the way Shakespeare is staged: notions of authenticity, attitudes towards sex and gender, and questions of identity. Ranging from the sixteenth to the twenty-first centuries and examining productions of plays in Britain, USA, Canada, Australia, and South Africa, the studies focus attention on the complex interaction between particular plays, issues, events, and periods.

This edition of The Tempest is the first dedicated to its stage history. Dymkowski examines four centuries of mainstream, regional, and fringe productions in Britain, nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian, and Japanese productions. She analyzes the cultural significance of changes in theatrical representation, eg. when and why Caliban began to be represented by a black actor, and Ariel became a man's role rather than a woman's. The commentary annotates each line of the play with details about acting, setting, textual alteration and contemporary reception.

This edition of The Tempest is the first dedicated to its stage history. Dymkowski examines four centuries of mainstream, regional, and fringe productions in Britain, nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian, and Japanese productions. She analyzes the cultural significance of changes in theatrical representation, eg. when and why Caliban began to be represented by a black actor, and Ariel became a man's role rather than a woman's. The commentary annotates each line of the play with details about acting, setting, textual alteration and contemporary reception.

Scholars, amateur historians and actors have shaped theatre history in different ways at different times and in different places. This Companion offers students and general readers a series of accessible and engaging essays on the key aspects of studying and writing theatre history. The diverse international team of contributors investigates how theatre history has been constructed, showing how historical facts are tied to political and artistic agendas and explaining why history matters to us. Beginning with an introduction to the central narrative that traditionally informs our understanding of what theatre is, the book then turns to alternative points of view - from other parts of the world and from the perspective of performers in fields such as music-theatre and circus. It concludes by looking at how history is written in the 'democratic' age of the Internet and offers a new perspective on theatre history in our globalised world.