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Shakespeare / Space explores new approaches to the enactment of
‘space’ in and through Shakespeare’s plays, as well as to the
cognitive, material and virtual spaces in which they are enacted.
With contributions from 14 leading experts in their fields, the
collection forges innovative connections between spatial studies
and cultural geography, cognitive studies, phenomenology and the
history of the emotions, gender and race studies, rhetoric and
language, translation studies, memory studies, theatre history and
performance studies. Each chapter offers methodological reflections
on intersections such as space/cognition, space/emotion,
space/geopoetics, space/embodiment, space/language, space/virtual,
whose critical purchase is demonstrated in close-readings of one or
several plays. The essays assembled here testify to the importance
of space for our understanding of Shakespeare’s creative and
theatrical practice, and at the same time enlarge our understanding
of space as a critical concept in the humanities. It will prove
useful to students, scholars, teachers and theatre practitioners of
Shakespeare and early modern studies.
This collection brings together emerging and established scholars
to explore fresh approaches to Shakespeare's best-known play.
Hamlet has often served as a testing ground for innovative readings
and new approaches. Its unique textual history - surviving as it
does in three substantially different early versions - means that
it offers an especially complex and intriguing case-study for
histories of early modern publishing and the relationship between
page and stage. Similarly, its long history of stage and screen
revival, creative appropriation and critical commentary offer rich
materials for various forms of scholarship. The essays in Hamlet:
The State of Play explore the play from a variety of different
angles, drawing on contemporary approaches to gender, sexuality,
race, the history of emotions, memory, visual and material
cultures, performativity, theories and histories of place, and
textual studies. They offer fresh approaches to literary and
cultural analysis, offer accessible introductions to some current
ways of exploring the relationship between the three early texts,
and present analysis of some important recent responses to Hamlet
on screen and stage, together with a set of approaches to the study
of adaptation.
Fresh explorations of the tragicomic drama, setting the familiar
plays of Shakespeare and his contemporaries alongside Irish and
European drama. Tragicomedy is one of the most important dramatic
genres in Renaissance literature, and the essays collected here
offer stimulating new perspectives and insights, as well as
providing broad introductions to arguably lesser-known European
texts. Alongside the chapters on Classical, Italian, Spanish, and
French material, there are striking and fresh approaches to
Shakespeare and his contemporaries -- to the origins of mixed genre
in English, to the development of Shakespearean and Fletcherian
drama, to periodization in Shakespeare's career, to the language of
tragicomedy, and to the theological structure of genre. The
collection concludes with two essays on Irish theatre and its
interactions with the London stage, further evidence of the
persistent and changing energy of tragicomedy in the period.
Contributors: SARAH DEWAR-WATSON, MATTHEW TREHERNE, ROBERT HENKE,
GERAINT EVANS, NICHOLAS HAMMOND, ROSKING, SUZANNE GOSSETT, GORDAN
MCMULLAN, MICHAEL WINMORE, JONATHAN HOPE, MICHAEL NEILL, LUCY
MUNRO, DEANA RANKIN
On 19 April 1621, a woman named Elizabeth Sawyer was hanged at
Tyburn. Her story was on the bookstalls within days and within
weeks was adapted for the stage as The Witch of Edmonton. The devil
stalks Edmonton in the shape of a large black dog and, just as
Elizabeth Sawyer makes her demonic pact, the newlywed Frank Thorney
enters into his own dark bargain in the shape of a second, bigamous
marriage. Torn between sympathy for Sawyer and Thorney and a
clear-eyed assessment of their crimes, the play was the finest and
most nuanced treatment of witchcraft that the stage would see for
centuries. Lucy Munro's introduction provides students and scholars
with a detailed understanding of this complex play.
Shakespeare | Sense explores the intersection of Shakespeare and
sensory studies, asking what sensation can tell us about early
modern drama and poetry, and, conversely, how Shakespeare explores
the senses in his literary craft, his fictional worlds, and his
stagecraft. 15 substantial new essays by leading Shakespeareans
working in sensory studies and related disciplines interrogate
every aspect of Shakespeare and sense, from the place of hearing,
smell, sight, touch, and taste in early modern life, literature,
and performance culture, through to the significance of sensation
in 21st century engagements with Shakespeare on stage, screen and
page. The volume explores and develops current methods for studying
Shakespeare and sensation, reflecting upon the opportunities and
challenges created by this emergent and influential area of
scholarly enquiry. Many chapters develop fresh readings of
particular plays and poems, from Hamlet, A Midsummer Night's Dream,
King Lear, and The Tempest to less-studied works such as The Comedy
of Errors, Venus and Adonis, Troilus and Cressida, and Cymbeline.
Created when James I granted royal patronage to the former
Chamberlain's Men in 1603, the King's Men were the first playing
company to exercise a transformative influence on Shakespeare's
plays. Not only did Shakespeare write his plays with them in mind,
but they were also the first group to revive his plays, and the
first to have them revised, either by Shakespeare himself or by
other dramatists after his retirement. Drawing on theatre history,
performance studies, cultural history and book history, Shakespeare
in the Theatre: The King's Men reappraises the company as theatre
artists, analysing in detail the performance practices, cultural
contexts and political pressures that helped to shape and reshape
Shakespeare's plays between 1603 and 1642. Reconsidering casting
and acting styles, staging and playing venues, audience response,
influence and popularity, and local, national and international
politics, the book presents case-studies of performances of
Macbeth, The Tempest, The Winter's Tale, Richard II, Henry VIII,
Othello and Pericles alongside a broader reappraisal of the
repertory of the company and the place of Shakespeare's plays
within it.
Created when James I granted royal patronage to the former
Chamberlain’s Men in 1603, the King’s Men were the first
playing company to exercise a transformative influence on
Shakespeare’s plays. Not only did Shakespeare write his plays
with them in mind, but they were also the first group to revive his
plays, and the first to have them revised, either by Shakespeare
himself or by other dramatists after his retirement. Drawing on
theatre history, performance studies, cultural history and book
history, Shakespeare in the Theatre: The King’s Men reappraises
the company as theatre artists, analysing in detail the performance
practices, cultural contexts and political pressures that helped to
shape and reshape Shakespeare’s plays between 1603 and 1642.
Reconsidering casting and acting styles, staging and playing
venues, audience response, influence and popularity, and local,
national and international politics, the book presents case-studies
of performances of Macbeth, The Tempest, The Winter’s Tale,
Richard II, Henry VIII, Othello and Pericles alongside a broader
reappraisal of the repertory of the company and the place of
Shakespeare’s plays within it.
Shakespeare / Text sets new agendas for the study and use of the
Shakespearean text. Written by 20 leading experts on textual
matters, each chapter challenges a single entrenched binary - such
as book/theatre, source/adaptation, text/paratext, canon/apocrypha,
sense/nonsense, extant/ephemeral, material/digital and
original/copy - that has come to both define and limit the way we
read, analyze, teach, perform and edit Shakespeare today. Drawing
on methods from book history, bibliography, editorial theory,
library science, the digital humanities, theatre studies and
literary criticism, the collection as a whole proposes that our
understanding of Shakespeare - and early modern drama more broadly
- changes radically when 'either/or' approaches to the
Shakespearean text are reconfigured. The chapters in Shakespeare /
Text make strong cases for challenging received wisdom and offer
new, portable methods of treating 'the text', in its myriad
instantiations, that will be useful to scholars, editors, theatre
practitioners, teachers and librarians.
Shakespeare / Sex interrogates the relationship between Shakespeare
and sex by challenging readers to consider Shakespeare’s texts in
light of the most recent theoretical approaches to gender and
sexuality studies. It takes as its premise that gender and
sexuality studies are key to any interpretation of Shakespeare, be
it his texts and their historical contexts, contemporary stage and
cinematic productions, or adaptations from the Restoration to the
present day. Approaching ‘sex’ from four main perspectives –
heterosexuality, third-wave intersectional feminism, queer studies
and trans studies – this book tackles a range of key topics, such
as medical science, rape culture, the environment, disability,
religion, childhood sexuality, race, homoeroticism and trans
bodies. The 12 essays range across Shakespeare’s poems and plays,
including the Sonnets and The Rape of Lucrece, Coriolanus, A
Midsummer Night’s Dream, Measure for Measure, Richard III and The
Two Noble Kinsmen. Encouraged to push the envelope, contributors to
this essay collection open new avenues of inquiry for the study of
gender and sexuality in Shakespeare.
Shakespeare / Nature sets new agendas for the study of nature in
Shakespeare's work. Offering an expansive exploration of the
intersections between the human and non-human worlds, chapters by
19 experts focus on the rich and persuasive language of nature,
both as organic matter and cultural conditioning. Each chapter is
grounded in a close reading of Shakespeare's plays and poems and
among the many themes considered are natural theology in Macbeth;
the influence of the stars in Romeo and Juliet, King Lear, Hamlet
and Macbeth; monstrous bodies in Richard III and The Tempest;
kinship in King Henry V; places and spaces in Love's Labour's Lost,
and acting sex scenes in a range of plays including Measure for
Measure, Titus Andronicus and The Two Gentlemen of Verona.
Approaching ‘Nature’ in all its diversity, this collection
explores the multifaceted and complex ways in which the human and
non-human worlds intersect and the development of a language of
symbiosis that attempts to both control as well as create the terms
of human authority. It offers an entirely new approach to the
subject of nature, bringing together divergent approaches that have
previously been pursued independently so as to explore their shared
investment in the intersections between the human and non-human
worlds and how these discourses shape and condition the emotional,
organic, cultural, and psychological landscapes of Shakespeare’s
play world. Contributors approach Shakespeare’s nature through
the various lenses of philosophy, historicism, psychoanalysis,
gender studies, cosmography, geography, sexuality, linguistics,
environmentalism, feminism and robotics to provide new and nuanced
readings of the intersectional terms of both meaning and matter.
This collection brings together emerging and established scholars
to explore fresh approaches to Shakespeare’s best-known play.
Hamlet has often served as a testing ground for innovative readings
and new approaches. Its unique textual history – surviving as it
does in three substantially different early versions – means that
it offers an especially complex and intriguing case-study for
histories of early modern publishing and the relationship between
page and stage. Similarly, its long history of stage and screen
revival, creative appropriation and critical commentary offer rich
materials for various forms of scholarship. The essays in Hamlet:
The State of Play explore the play from a variety of different
angles, drawing on contemporary approaches to gender, sexuality,
race, the history of emotions, memory, visual and material
cultures, performativity, theories and histories of place, and
textual studies. They offer fresh approaches to literary and
cultural analysis, offer accessible introductions to some current
ways of exploring the relationship between the three early texts,
and present analysis of some important recent responses to Hamlet
on screen and stage, together with a set of approaches to the study
of adaptation.
Ranging from the works of Shakespeare, Spenser, Jonson and Milton
to those of Robert Southwell and Anna Trapnel, this groundbreaking
study explores the conscious use of archaic style by the poets and
dramatists between 1590 and 1674. It focuses on the wide-ranging,
complex and self-conscious uses of archaic linguistic and poetic
style, analysing the uses to which writers put literary style in
order to re-embody and reshape the past. Munro brings together
scholarly conversations on temporality, memory and historiography,
on the relationships between medieval and early modern literary
cultures, on the workings of dramatic and poetic style, and on
national history and identity. Neither pure anachronism nor pure
nostalgia, the attempts of writers to reconstruct outmoded styles
within their own works reveal a largely untold story about the
workings of literary influence and tradition, the interactions
between past and present, and the uncertain contours of English
nationhood.
Ranging from the works of Shakespeare, Spenser, Jonson and Milton
to those of Robert Southwell and Anna Trapnel, this groundbreaking
study explores the conscious use of archaic style by the poets and
dramatists between 1590 and 1674. It focuses on the wide-ranging,
complex and self-conscious uses of archaic linguistic and poetic
style, analysing the uses to which writers put literary style in
order to re-embody and reshape the past. Munro brings together
scholarly conversations on temporality, memory and historiography,
on the relationships between medieval and early modern literary
cultures, on the workings of dramatic and poetic style, and on
national history and identity. Neither pure anachronism nor pure
nostalgia, the attempts of writers to reconstruct outmoded styles
within their own works reveal a largely untold story about the
workings of literary influence and tradition, the interactions
between past and present, and the uncertain contours of English
nationhood.
This book provides a detailed study of the Children of the Queen's
Revels, the most enduring and influential of the Jacobean
children's companies. Between 1603 and 1613 the Queen's Revels
staged plays by Francis Beaumont, George Chapman, John Fletcher,
Ben Jonson, John Marston and Thomas Middleton, all of whom were at
their most innovative when writing for this company. Combining
theatre history and critical analysis, this study provides a
history of the Children of the Queen's Revels, and an account of
their repertory. It examines the 'biography' of the company -
demonstrating the involvement in dramatic production of dramatists,
shareholders, patrons, audiences and actors alike, and reappraising
issues such as management, performance style and audience
composition - before exploring their groundbreaking practices in
comedy, tragicomedy and tragedy. The book also includes five
documentary appendices detailing the plays, people and performances
of the Queen's Revels Company.
This book provides a detailed study of the Children of the Queen's
Revels, the most enduring and influential of the Jacobean
children's companies. Between 1603 and 1613 the Queen's Revels
staged plays by Francis Beaumont, George Chapman, John Fletcher,
Ben Jonson, John Marston and Thomas Middleton, all of whom were at
their most innovative when writing for this company. Combining
theatre history and critical analysis, this study provides a
history of the Children of the Queen's Revels, and an account of
their repertory. It examines the 'biography' of the company -
demonstrating the involvement in dramatic production of dramatists,
shareholders, patrons, audiences and actors alike, and reappraising
issues such as management, performance style and audience
composition - before exploring their groundbreaking practices in
comedy, tragicomedy and tragedy. The book also includes five
documentary appendices detailing the plays, people and performances
of the Queen's Revels Company.
The New Cambridge Shakespeare appeals to students worldwide for its
up-to-date scholarship and emphasis on performance. The series
features line-by-line commentaries and textual notes on the plays
and poems. Introductions are regularly refreshed with accounts of
new critical, stage and screen interpretations. In this second
edition of The Two Gentlemen of Verona, Kurt Schlueter approaches
Shakespeare's early comedy as a parody of two types of Renaissance
educational fiction: the love-quest story and the
test-of-friendship story, which in combination show high-flown
human ideals as incompatible with each other and with human nature.
Since the first known production at David Garrick's Drury Lane
Theatre, the play has tempted major directors and actors, though
changing conceptions of the play often fail to recognise its
subversive impetus. This updated edition includes a new
introductory section by Lucy Munro on recent stage and critical
interpretations, bringing the thoroughly researched, illustrated
performance history up to date.
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