What is the relation between the language being heard and the picture being simultaneously exhibited on the stage? Typically there is an identity between sound and sight, but often there is a divergen
First published in 1968. Providing a detailed and rigorous analysis of Richard III, this Commentary reveals every nuance of meaning whilst maintaining a firm grasp on the structure of the play. The r
First published in 1980. In this study of Shakespeare's ten early comedies, from The Comedy of Errors to Twelfth Night, the concept of a dynamic of comic form is developed; the Falstaff plays are se
First published in 1980. This collection of essays by the first General Editor of the New Arden Shakespeare brings together the best of Ellis-Fermor's Shespearean criticism, in addition to outstandin
Elizabethan Popular Theatre surveys the Golden Age of English popular theatre: the 1590s, the age of Marlowe and the young Shakespeare. The book describes the staging practices, performance conditions
First published in 1928. This book collects together over one hundred sources by Elizabethan authors which show English life in English literature. Most of them have been selected as much to catch the
First published in 1972. Studying Shakespeare's 'art of preparation', this book illustrates the relationship between the techniques of preparation and the structure and theme of the plays. Other essa
First published in 1987. Often the best known and most memorable passages in Shakespeare's plays, the soliloquies, also tend to be the focal points in the drama. Twenty-seven soliloquies are examined
Shakespeare against the background of his times, his world of the theatre and his dramatic development through the last years of Elizabeth’s reign. Originally published in 1933 and republished in 1958
An absorbing and original addition to Shakespeareana, this handbook of production is for all lovers of Shakespeare whether producer, player, scholar or spectator. In four sections, Staging, Actors and
Originally published in 1961, this book is a study of the ways actors since the time of Shakespeare have portrayed the character of Shylock. A pioneering work in the study of performance history as we
How did the actors for whom Shakespeare wrote his plays make his characters come to life, how did they convey his words? Can modern directors, actors, and even library readers of Shakespeare learn fro
An absorbing and original addition to Shakespeareana, this handbook of production is for all lovers of Shakespeare whether producer, player, scholar or spectator. In four sections, Staging, Actors and
These studies take stage history as a means of knowing the play. Half of the studies deal with casting - doubling, chorus and the crowd, the star of Hamlet and Measure for Measure. Then the transforma
How did the actors for whom Shakespeare wrote his plays make his characters come to life, how did they convey his words? Can modern directors, actors, and even library readers of Shakespeare learn fro
For producers and directors planning a production, several questions inevitably arise: Which play is appropriate for the contemporary audience? Should the text and setting be altered? Twelve leading c
Shakespeare against the background of his times, his world of the theatre and his dramatic development through the last years of Elizabeth’s reign. Originally published in 1933 and republished in 1958
Reissuing works originally published between 1933 and 1993, Routledge Library Editions: Shakespeare in Performance offers a selection of scholarship on the Bard's work on stage. Classic previously out
The great Shakespeare Jubilee festival was held at Stratford, under the direction of David Garrick. The occasion was the dedication of the new town hall and the presentation by Garrick of a statue of
Originally published in 1961, this book is a study of the ways actors since the time of Shakespeare have portrayed the character of Shylock. A pioneering work in the study of performance history as we
This book establishes an analytical model for the description of existing translations in their historical context within a framework suggested by systemic concepts of literature. It argues against ma
