Shakespeare's drama originally circulated in the form of the individual actor's part, containing only a single character's speeches and brief cues. This unique collaboration of original theatre history with exciting literary criticism captures anew Shakespeare's development as a writer, showing how scripting and acting work together to produce characters of unprecedented immediacy.
Shakespeare's drama originally circulated in the form of the individual actor's part, containing only a single character's speeches and brief cues. This unique collaboration of original theatre history with exciting literary criticism captures anew Shakespeare's development as a writer, showing how scripting and acting work together to produce characters of unprecedented immediacy.
Tiffany Stern is a Lecturer in English Literature at Oxford University, and the Beaverbrook and Bouverie Fellow and Tutor in English Literature at University College, Oxford. She specialises in Shakespeare, theatre history from the sixteenth to the eighteenth century, book history, and editing. Her publications include Rehearsal from Shakespeare to Sheridan (OUP, 2000), Making Shakespeare (Routledge, 2004), and numerous articles and chapters exploring theatrical and editorial concerns of the early modern period. She has also edited the anonymous King Leir and Sheridan's The Rivals and is currently editing George Farquhar's Recruiting Officer, Brome's Jovial Crew, and Shakespeare's Merry Wives. Simon Palfrey is Lecturer in English at Oxford University and a Fellow of Brasenose College, Oxford. He is the author of Late Shakespeare: a New World of Words(OUP, 1997; paperback, 2000), Doing Shakespeare (Arden, 2004), and articles on Kierkegaard and the ethics and phenomenology of drama.
Inhaltsangabe
* INTRODUCTION * I: HISTORY * 1: The Actor's Part * 2: The Actors * 3: Rehearsing and Performing * II: INTERPRETING CUES * 4: History of the Cue * 5: Interpreting Shakespeare's Cues * 6: Cues and Characterisation * 7: Waiting and Suddenness: the Part in Time * 8: Repeated Cues * 9: Repeated cues: from Crowds to Clowns * 10: Repeated cues: comi-tragic/tragic-comic pathos * 11: Repeated cues and the battle for the cue-space: The Merchant of Venice * 12: Repeated cues and tragedy * 13: Repeated cues and the cue-space in King Lear * 14: Repeated cues and post-tragic effects * 15: Repeated Cues and the Cue-Space in The Tempest * III: THE ACTOR WITH HIS PART * 16: History * 17: Dramatic prosody * 18: Prosodic Switches: From Actor's Prompt to Absent Presence * 19: Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence * 20: Case studies: six romantic heroines and three lonely men
* INTRODUCTION * I: HISTORY * 1: The Actor's Part * 2: The Actors * 3: Rehearsing and Performing * II: INTERPRETING CUES * 4: History of the Cue * 5: Interpreting Shakespeare's Cues * 6: Cues and Characterisation * 7: Waiting and Suddenness: the Part in Time * 8: Repeated Cues * 9: Repeated cues: from Crowds to Clowns * 10: Repeated cues: comi-tragic/tragic-comic pathos * 11: Repeated cues and the battle for the cue-space: The Merchant of Venice * 12: Repeated cues and tragedy * 13: Repeated cues and the cue-space in King Lear * 14: Repeated cues and post-tragic effects * 15: Repeated Cues and the Cue-Space in The Tempest * III: THE ACTOR WITH HIS PART * 16: History * 17: Dramatic prosody * 18: Prosodic Switches: From Actor's Prompt to Absent Presence * 19: Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence * 20: Case studies: six romantic heroines and three lonely men
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