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'I wish I had copies like this at Drama School. Essential notes on
the language for those who will get up and speak it, not purely for
those who will sit and study it. An incredibly useful tool with
room on every page to make notes. Next time I'm in rehearsal on a
Shakespeare play, I have no doubt that a copy from this series will
be in my hand.' ADRIAN LESTER, Actor, Director and Writer Arden
Performance Editions are ideal for anyone engaging with a
Shakespeare play in performance. With clear facing-page notes
giving definitions of words, easily accessible information about
key textual variants, lineation, metrical ambiguities and
pronunciation, each edition has been developed to open the play's
possibilities and meanings to actors and students. Each edition
offers: -Facing-page notes -Short, clear definitions of words
-Easily accessible information about key textual variants -Notes on
pronunciation of difficult names and unfamiliar words -An easy to
read layout -Space to write notes -A short introduction to the play
This book explores how productions of Shakespearean plays create
meaning in specific communities, with special attention to issues
of access, adaptation, and activism. Instead of focusing on large
professional companies, it analyzes performances put on by
community theatres and grassroots companies, and in applied drama
projects. It looks at Shakespearean productions created by
marginalized populations in Greater London, Harlem, and Los
Angeles, a Hamlet staged in the remote Faroe Islands, and
eco-theatre made in California’s Yosemite National Park. The book
investigates why different communities perform Shakespeare, and
what challenges, opportunities, and triumphs accompany the
processes of theatrical production for both the artists and the
communities in which they are embedded.Â
Games and Theatre in Shakespeare's England brings together theories
of play and game with theatre and performance to produce new
understandings of the history and design of early modern English
drama. Through literary analysis and embodied practice, an
international team of distinguished scholars examines a wide range
of games-from dicing to bowling to role-playing to videogames-to
uncover their fascinating ramifications for the stage in
Shakespeare's era and our own. Foregrounding ludic elements
challenges the traditional view of drama as principally mimesis, or
imitation, revealing stageplays to be improvisational experiments
and participatory explorations into the motive, means, and value of
recreation. Delving into both canonical masterpieces and hidden
gems, this innovative volume stakes a claim for play as the crucial
link between games and early modern theatre, and for the early
modern theatre as a critical site for unraveling the continued
cultural significance and performative efficacy of gameplay today.
The term "secular" inspires thinking about disenchantment,
periodization, modernity, and subjectivity. The essays in Sacred
and Secular Transactions in the Age of Shakespeare argue that
Shakespeare's plays present "secularization" not only as a
historical narrative of progress but also as a hermeneutic process
that unleashes complex and often problematic transactions between
sacred and secular. These transactions shape ideas about everything
from pastoral government and performative language to wonder and
the spatial imagination. Thinking about Shakespeare and
secularization also involves thinking about how to interpret
history and temporality in the contexts of Shakespeare's medieval
past, the religious reformations of the sixteenth century, and the
critical dispositions that define Shakespeare studies today. These
essays reject a necessary opposition between "sacred" and "secular"
and instead analyze how such categories intersect. In fresh
analyses of plays ranging from Hamlet and The Tempest to All's Well
that Ends Well and All Is True, secularization emerges as an
interpretive act that explores the cultural protocols of
representation within both Shakespeare's plays and the critical
domains in which they are studied and taught. The volume's diverse
disciplinary perspectives and theoretical approaches shift our
focus from literal religion and doctrinal issues to such aspects of
early modern culture as theatrical performance, geography, race,
architecture, music, and the visual arts.
In Staging Harmony, Katherine Steele Brokaw reveals how the
relationship between drama, music, and religious change across
England's long sixteenth century moved religious discourse to more
moderate positions. It did so by reproducing the complex personal
attachments, nostalgic overtones, and bodily effects that allow
performed music to evoke the feeling, if not always the reality, of
social harmony. Brokaw demonstrates how theatrical music from the
late fifteenth to the early seventeenth centuries contributed to
contemporary discourses on the power and morality of music and its
proper role in religious life, shaping the changes made to church
music as well as people's reception of those changes. In
representing social, affective, and religious life in all its
intricacy, and in unifying auditors in shared acoustic experiences,
staged musical moments suggested the value of complexity,
resolution, and compromise rather than oversimplified, absolutist
binaries worth killing or dying for.The theater represented the
music of the church's present and past. By bringing medieval and
early Tudor drama into conversation with Elizabethan and Jacobean
drama, Brokaw uncovers connections and continuities across diverse
dramatic forms and demonstrates the staying power of musical
performance traditions. In analyzing musical practices and
discourses, theological debates, devotional practices, and early
staging conditions, Brokaw offers new readings of well-known plays
(Marlowe's Doctor Faustus, Shakespeare's The Tempest and The
Winter's Tale) as well as Tudor dramas by playwrights including
John Bale, Nicholas Udall, and William Wager.
English music studies often apply rigid classifications to musical
materials, their uses, their consumers, and performers. The
contributors to this volume argue that some performers and
manuscripts from the early modern era defy conventional
categorization as "amateur" or "professional," "native" or
"foreign." These leading scholars explore the circulation of music
and performers in early modern England, reconsidering previously
held ideas about the boundaries between locations of musical
performance and practice.
English music studies often apply rigid classifications to musical
materials, their uses, their consumers, and performers. The
contributors to this volume argue that some performers and
manuscripts from the early modern era defy conventional
categorization as "amateur" or "professional," "native" or
"foreign." These leading scholars explore the circulation of music
and performers in early modern England, reconsidering previously
held ideas about the boundaries between locations of musical
performance and practice.
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