This engaging and fresh biography begins by examining how Shakespeare's life turns into myth so comfortably as to seduce even the most sceptical scholar. The early departure, the late return. Public success, private loss. A twilight of plays about family reunions, a death at home in the biggest house in town, the one he walked by as a schoolboy and eyed with envy, or at least ambition. Shakespeare led an orbital life, everything returned to where it began. He even had the dramatic good sense to die on his birthday. One of the appealing dynamics of the Shakespeare myth is the contrast of his humble beginnings and his lofty achievements, persuading us that genius might blossom anywhere. William Shakespeare: A Brief Life honours these myths, but also explores some of the mysteries: why Shakespeare left Stratford, who he ran with in London, why he put down his pen and at last came home again. Ultimately, the book explores the compelling contrast between the mere fifty two years Shakespeare lived, with the prolonged after lives of his work and his story, which show no sign of ending.

The original Blackfriars closed its doors in the 1640s, ending over half-a-century of performances by men and boys. In 2001, in the Shenandoah Valley of Virginia, it opened once again. The reconstructed Blackfriars, home to the American Shakespeare Center, represents an old playhouse for the new millennium and therefore symbolically registers the permanent revolution in the performance of Shakespeare. Time and again, the industry refreshes its practices by rediscovering its own history. This book assesses how one American company has capitalised on history and in so doing has forged one of its own to become a major influence in contemporary Shakespearean theatre.

Shakespeare's four-hundred-year performance history is full of anecdotes - ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact. Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes - stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar - and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.

This fully re-edited, modernised play text is accompanied by commentary notes and an introduction written by Paul Menzer, guiding you through the fume of fact and legend that have accompanied the play across the centuries. As well as the complete text of the play, this re-edited New Mermaids edition includes: * A detailed plot summary and annotations throughout the text * An annotated bibliography and suggestions for further reading * A comprehensive introduction exploring the historical and literary context, and performance history, including Orson Welles's 1937 role as Doctor Faustus as well as recent productions at The Globe and the RSC One of the most spectacular and popular plays of the Elizabethan stage, Christopher Marlowe's Doctor Faustus, with its fantastical mix of high-minded theology and low-brow slapstick, has allured generations of readers and playgoers in the ensuing centuries.

In the heat of renaissance Italy two houses are at war. One son and one daughter from the opposing families break this bitter conflict by falling in love. Yet, in this whirlwind of enmity, Romeo and Juliet's passion agitates rather than unites the clashing houses, causing a trail of destruction. Locked in a burning embrace, the two young lovers are tragically doomed to live or die together. For the first time, the world-renowned Arden Shakespeare is producing Performance Editions, aimed specifically for use in the rehearsal room. Published in association with the Shakespeare Institute, the text features easily accessible facing page notes - including short definitions of words, key textual variants, and guidance on metre and pronunciation; a larger font size for easier reading; space for writing notes and reduced punctuation aimed at the actor rather than the reader. With editorial expertise from the worlds of theatre and academia, the series has been developed in association with actors and drama students. The Series Editors are distinguished scholars Professor Michael Dobson and Dr Abigail Rokison-Woodall and leading Shakespearean actor, Simon Russell Beale.

Shakespeare in the Light convenes an accomplished group of scholars, actors, and teachers to celebrate the legacy of renowned Shakespearean and founder of the American Shakespeare Center, Ralph Alan Cohen. Each contributor pivots off a production at the ASC’s Blackfriars Playhouse to explore Cohen’s abiding passion, the performance of the plays of William Shakespeare under their original theatrical conditions. Whether interested in early modern theatre history, the teaching of Shakespeare to high school students, or the performance of Shakespeare in twenty-first century America, each essay sheds light on the professing of Shakespeare today, whether on the page, on the stage, or in the classroom. Guided by the spirit of “universal lighting� – so central to the aesthetic of the American Shakespeare Center – Shakespeare in the Light illuminates the impact that the ASC and its founder have made upon the teaching, editing, scholarship, and performance of Shakespeare today.

This engaging and fresh biography begins by examining how Shakespeare's life turns into myth so comfortably as to seduce even the most sceptical scholar. The early departure, the late return. Public success, private loss. A twilight of plays about family reunions, a death at home in the biggest house in town, the one he walked by as a schoolboy and eyed with envy, or at least ambition. Shakespeare led an orbital life, everything returned to where it began. He even had the dramatic good sense to die on his birthday. One of the appealing dynamics of the Shakespeare myth is the contrast of his humble beginnings and his lofty achievements, persuading us that genius might blossom anywhere. William Shakespeare: A Brief Life honours these myths, but also explores some of the mysteries: why Shakespeare left Stratford, who he ran with in London, why he put down his pen and at last came home again. Ultimately, the book explores the compelling contrast between the mere fifty two years Shakespeare lived, with the prolonged after lives of his work and his story, which show no sign of ending.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Shakespeare's four-hundred-year performance history is full of anecdotes - ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact. Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes - stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar - and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.