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The Tempest?-- the last play Shakespeare wrote without a collaborator and the first included in the 1623 First Folio?-- occupies a unique place in cultural history.?Probably no play of Shakespeare’s h

Shakespeare and the Gods examines Shakespeare's many allusions to six classical gods (Jupiter, Diana, Venus, Mars, Hercules and Ceres) that enhance his readers' and audiences' understanding and enjoym

Performing Blackness on English Stages, 1500–1800 examines early modern English actors' impersonations of black Africans. Those blackface performances established dynamic theatrical conventions that were repeated from play to play, plot to plot, congealing over time and contributing to English audiences' construction of racial difference. Vaughan discusses non-canonical plays, grouping of scenes, and characters that highlight the most important conventions - appearance, linguistic tropes, speech patterns, plot situations, the use of asides and soliloquies, and other dramatic techniques - that shaped the ways black characters were 'read' by white English audiences. In plays attended by thousands of English men and women from the sixteenth century to the end of the eighteenth, including Titus Andronicus, Othello and Oroonoko, blackface was a polyphonic signifier that disseminated distorted and contradictory, yet compelling, images of black Africans during the period in which England

Shakespeare's Othello has exercised a powerful fascination over audiences for centuries with its portrayal of destructive jealousy. This study is a major exercise in the historicisation of Othello in which the author examines contemporary writings and demonstrates how they were embedded in the text of Othello: discourse about conflict between Turk and Venetian treatises on the professionalisation of England's military forces, representations of Africans and blackamoors, and narratives depicting jealous husbands. The second section traces Othello's history in England and the United States from the Restoration to the late 1980s, using illustrations where appropriate. Each chapter highlights a specific historical period, actor or production to demonstrate how and why elements from Shakespeare's text were emphasised or repressed. Othello is revealed as a significant shaper of cultural meaning.

An unusual study of the tradition of blackface in stage performance.

The Tempest - the last play Shakespeare wrote without a collaborator and the first included in the 1623 First Folio - occupies a unique place in cultural history. Probably no play of Shakespeare's has

This book traces Shakespeare's contributions to America's cultural history from the colonial era to the present, with substantial attention to theatre history, publishing history, and criticism. It id

This book traces Shakespeare's contributions to America's cultural history from the colonial era to the present, with substantial attention to theatre history, publishing history, and criticism. It id

The relationship between English Renaissance drama and Renaissance geography is discussed in this book. It also deals with the impact on the drama of new lands and new peoples and of old lands and anc

Celebrates the extraordinary English poets influence on American culturewhether high, low, or middlebrowto mark the 150th anniversary of Henry Folgers birth and the 75th anniversary of the great libra

Approaches Shakespeare's last play from the directions of sources and analogues in classical literature and mythology, colonial and dynastic politics, performance and performance history, critical rea

This radical new edition of a favourite late play discusses the complexity of character and motivation, and above all the reflections on the marriage bond, which lie behind one of Shakespeare's most

The Tempest is one of Shakespeare's most popular plays, both in the classroom and in the theatre, and this revision brings the Arden Third Series edition right up-to-date. A completely new section of

The Tempest has long dazzled readers and audiences with its intricate blend of magic, music, humour, intrigue and tenderness, its vibrant but ambiguous central characters. As Virginia and Alden Vaugha

The Tempest, the last play Shakespeare wrote without a collaborator, has become a key text in school and university curricula, not simply in early modern literature courses but in postcolonial and his

"A collection of new essays offering students a range of current perspectives on The Tempest, providing both context and critical overviews"--

The Tempest is one of Shakespeare's most popular plays, both in the classroom and in the theatre, and this revision brings the Arden Third series edition right up-to-date. A completely new section of

Women Making Shakespeare presents a series of 20-25 short essays that draw on a variety of resources, including interviews with directors, actors, and other performance practitioners, to explore the