This volume extends the reach of the American Shakespeare Center, which provides the finest in Shakespearean and Elizabethan dramatic performance and scholarship. These 28 essays, originally presented on the Blackfriars stage, bring together scholars and practitioners, often promoting ideas that can be translated into classroom experiences.
This volume extends the reach of the American Shakespeare Center, which provides the finest in Shakespearean and Elizabethan dramatic performance and scholarship. These 28 essays, originally presented on the Blackfriars stage, bring together scholars and practitioners, often promoting ideas that can be translated into classroom experiences.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Edited by Kathryn M. Moncrief; Kathryn R. McPherson and Sarah Enloe
Inhaltsangabe
Foreword: Lightning in a Bottle Ralph Alan Cohen Chapter 1: Introduction: Shakespeare Embodied, Expressed, and Enacted Kathryn Moncrief and Kathryn McPherson: I. The Body of the Actor Chapter 2: Speaking in the Silence: Deaf Performance at the Oregon Shakespeare Festival Lezlie Cross Chapter 3: "I Have Given Suck:" The Maternal Body in Sarah Siddons' Lady Macbeth Chelsea Phillips Chapter 4: Competing Heights Jemma Alix Levy Chapter 5: The Mirror and the Monarchs: Suggestive Presences and Shakespeare's Cast-Size Brett Gamboa Chapter 6: Embodying Shakespeare: In the Classroom Miriam Gilbert II. Playing the Text Chapter 7: Remember the Porter: Knock-Knock Jokes, Tragedy, and Other Unfunny Things Chris Barrett Chapter 8: Ghost in the Machine: Shakespeare, Stanislavski and Original Practices Peter Kanelos Chapter 9: "Speake[ing] the speech[es]:" Reassessing the Playability of the Earliest Printings of Hamlet Matthew Vadnais Chapter 10: A "Ha" in Shakespeare: The Soliloquy as Excuse and Challenge to the Audience Bill Gelber Chapter 11: A Knave to Know a Knock: Exploring Character Function in Scenic Structure Symmonie Preston III. Staging Choices Chapter 12: Behind Closed Doors: Perspective and Painterly Technique on the Early Modern English Stage Jennifer Low Chapter 13: Shticky Shakespeare: Exploring Action as Eloquence Sid Ray Chapter 14: Seeing Ghosts: Hamlet and Modern Original Practices Fiona Harris-Ramsby & Kathryn McPherson Chapter 15: Remembrances of yours': Properties, Performance, and Memory in Shakespeare's Hamlet 3.1 Kathryn Moncrief Chapter 16: The Mirror of All Christian Kings: Choral Medievalism in the Henry V Folio Christina Gutierrez Chapter 17: Playing with Character-Audience Members in Early Modern Playhouses Sarah Enloe IV. Playhouse and Playing Conditions Chapter 18: Blackfriars Stage-Sitters and the Staging of The Tempest, The Maid's Tragedy and The Two Noble Kinsmen Leslie Thomson Chapter 19: "The Concourse of People on the Stage": An Alternative Proposal for Onstage Seating at the Second Blackfriars Nova Myhill Chapter 20: The Two Blackfriars Theatres: Discontinuity or Contiguity? Jeanne McCarthy Chapter 21: "Here sit we down...": The Location of Andrea and Revenge in The Spanish Tragedy Annalisa Castaldo Chapter 22: Thomas Middleton's Use of the Gallery Space Christine Parker Chapter 23: Performing Space: Playing the Architecture Doreen Bechtol V. Technical and Material Matters Chapter 24: Light and Heat in the Playhouses Ann Jennalie Cook Chapter 25: Lighting Effects in the Early Modern Private Playhouses Lauren Shell Chapter 26: Sound Trumpets Alisha Huber Chapter 27: Play it again, Hal: The 1605 Revival of Henry V Melissa Aaron Chapter 28: Playing with Early Modern Special Effects Cass Morris
Foreword: Lightning in a Bottle Ralph Alan Cohen Chapter 1: Introduction: Shakespeare Embodied, Expressed, and Enacted Kathryn Moncrief and Kathryn McPherson: I. The Body of the Actor Chapter 2: Speaking in the Silence: Deaf Performance at the Oregon Shakespeare Festival Lezlie Cross Chapter 3: "I Have Given Suck:" The Maternal Body in Sarah Siddons' Lady Macbeth Chelsea Phillips Chapter 4: Competing Heights Jemma Alix Levy Chapter 5: The Mirror and the Monarchs: Suggestive Presences and Shakespeare's Cast-Size Brett Gamboa Chapter 6: Embodying Shakespeare: In the Classroom Miriam Gilbert II. Playing the Text Chapter 7: Remember the Porter: Knock-Knock Jokes, Tragedy, and Other Unfunny Things Chris Barrett Chapter 8: Ghost in the Machine: Shakespeare, Stanislavski and Original Practices Peter Kanelos Chapter 9: "Speake[ing] the speech[es]:" Reassessing the Playability of the Earliest Printings of Hamlet Matthew Vadnais Chapter 10: A "Ha" in Shakespeare: The Soliloquy as Excuse and Challenge to the Audience Bill Gelber Chapter 11: A Knave to Know a Knock: Exploring Character Function in Scenic Structure Symmonie Preston III. Staging Choices Chapter 12: Behind Closed Doors: Perspective and Painterly Technique on the Early Modern English Stage Jennifer Low Chapter 13: Shticky Shakespeare: Exploring Action as Eloquence Sid Ray Chapter 14: Seeing Ghosts: Hamlet and Modern Original Practices Fiona Harris-Ramsby & Kathryn McPherson Chapter 15: Remembrances of yours': Properties, Performance, and Memory in Shakespeare's Hamlet 3.1 Kathryn Moncrief Chapter 16: The Mirror of All Christian Kings: Choral Medievalism in the Henry V Folio Christina Gutierrez Chapter 17: Playing with Character-Audience Members in Early Modern Playhouses Sarah Enloe IV. Playhouse and Playing Conditions Chapter 18: Blackfriars Stage-Sitters and the Staging of The Tempest, The Maid's Tragedy and The Two Noble Kinsmen Leslie Thomson Chapter 19: "The Concourse of People on the Stage": An Alternative Proposal for Onstage Seating at the Second Blackfriars Nova Myhill Chapter 20: The Two Blackfriars Theatres: Discontinuity or Contiguity? Jeanne McCarthy Chapter 21: "Here sit we down...": The Location of Andrea and Revenge in The Spanish Tragedy Annalisa Castaldo Chapter 22: Thomas Middleton's Use of the Gallery Space Christine Parker Chapter 23: Performing Space: Playing the Architecture Doreen Bechtol V. Technical and Material Matters Chapter 24: Light and Heat in the Playhouses Ann Jennalie Cook Chapter 25: Lighting Effects in the Early Modern Private Playhouses Lauren Shell Chapter 26: Sound Trumpets Alisha Huber Chapter 27: Play it again, Hal: The 1605 Revival of Henry V Melissa Aaron Chapter 28: Playing with Early Modern Special Effects Cass Morris
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