For teachers and lovers of Shakespeare, ShakesFear and How to Cure It provides a comprehensive approach to the challenge and rewards of teaching Shakespeare and gives teachers both an overview of each of Shakespeare's 38 plays and specific classroom tools for teaching it. Written by a celebrated teacher, scholar and director of Shakespeare, it shows teachers how to use the text to make the words and the moments come alive for their students. It refutes the idea that Shakespeare's language is difficult and provides a survey of the plays by someone who has lived intimately with them on the page and on the stage.

Inspired by the verbal exuberance and richness of all that can be heard by audiences both on and off Shakespeare's stages, Shakespeare's Auditory Worlds examines such special listening situations as overhearing, eavesdropping, and asides. It breaks new ground by exploring the complex relationships between sound and sight, dialogue and blocking, dialects and other languages, re-voicings, and, finally, nonverbal or metaverbal relationships inherent in noise, sounds, and music, staging interstices that have been largely overlooked in the critical literature on aurality in Shakespeare. Its contributors include David Bevington, Ralph Alan Cohen, Steve Urkowitz, and Leslie Dunn, and, in a concluding "Virtual Roundtable" section, six seasoned repertory actors of the American Shakespeare Center as well, who discuss their nuanced hearing experiences on stage. Their "hearing" invites us to understand the multiple dimensions of Shakespeare's auditory world from the vantage point of actors who are listening "in the round" to what they hear from their onstage interlocutors, from offstage and backstage cues, from the musicians' galleries, and often most interestingly, from their audiences.

For teachers and lovers of Shakespeare, ShakesFear and How to Cure It provides a comprehensive approach to the challenge and rewards of teaching Shakespeare and gives teachers both an overview of each of Shakespeare's 38 plays and specific classroom tools for teaching it. Written by a celebrated teacher, scholar and director of Shakespeare, it shows teachers how to use the text to make the words and the moments come alive for their students. It refutes the idea that Shakespeare's language is difficult and provides a survey of the plays by someone who has lived intimately with them on the page and on the stage.

The twelve essays were written not simply to honor Stephen Booth, but to further the study of Shakespeare. Booth has, for over forty years, proposed a distinct understanding of how Shakespeare s plays and poems work upon us and a unique and rigorous way of reading them. The essays here reflect his insights and method and are meant both to recognize his monumental achievements as a critic and to suggest the enduring value of his work to Shakespeare scholarship. The first essay explains the method and the advantages of Booth s approach to Shakespeare. The next two on Romeo and Juliet and The Rape of Lucrece demonstrate Booth s way of reading Shakespeare. The next four develop Booth s contention that Shakespeare often sets audiences to watch or, rather, to try to watch a play other than the one he shows them. The next two essays look at textual problems from Booth s perspective and explore the challenges editors face in their attempts to establish authentic texts for modern readers. The last three essays focus on teaching and include a description of Stephen Booth s teaching practices and his own renown explanation, through a commentary on Philip D. Eastman s Go, Dog. Go , of the way poetry works upon its readers and the reasons they value it highly. The book concludes with a bibliography of Stephen Booth s work."

Inspired by the verbal exuberance and richness of all that can be heard by audiences both on and off Shakespeare's stages, Shakespeare's Auditory Worlds examines such special listening situations as overhearing, eavesdropping, and asides, It breaks new ground by exploring the complex relationships between sound and sight, dialogue and blocking, dialects and other languages, re-voicings, and, finally, non-verbal or meta-verbal relationships inherent in noise, sounds, and music, staging interstices that have been largely overlooked in the critical literature on aurality in Shakespeare. Its contributors include David Bevington, Ralph Alan Cohen, Steve Urkowitz, and Leslie Dunn, and, in a concluding "Virtual Roundtable" section, six seasoned repertory actors of the American Shakespeare Center as well, who discuss their nuanced hearing experiences "on stage." Their "hearing" invites us to understand the multiple dimensions of Shakespeare's auditory world from the vantage point of actors who are listening "in the round" to what they hear from their onstage interlocutors, from offstage and backstage cues, from the musicians' galleries, and often most interestingly, from their audiences.