Andrew Gurr is Professor Emeritus at the University of Reading, and for the past thirty years has been Director of Research in London for the Globe Theatre. His books on the subject of theatre history include The Shakespearean Stage 1574-1642 (Cambridge, 1992), now in its fourth edition, The Shakespearean Playing Companies (1996), Staging in Shakespeare's Theatres (with Mariko Ichikawa, 2000), Playgoing in Shakespeare's London (Cambridge, 2004), The Shakespeare Company 1594-1642 (Cambridge, 2010), and Shakespeare's Opposites: The Admiral's Company, 1594-1625 (Cambridge, 2012). He has also edited the New Cambridge Shakespeare editions of King Richard II (1984) and King Henry V (1992).
Inhaltsangabe
List of illustrations Acknowledgements Note on the text 1. Introduction 2. Henry Carey's peculiar letter 3. Venues on the verges: London's theatre government between 1594 and 1614 4. Three reluctant patrons and early Shakespeare 5. The great divide of 1594 6. The choice between plays and poems 7. Accommodating the Revels Office 8. The war of 1614-18: Jacobean absolutism, local authority, and a crisis of overproduction 9. Metatheatre and the fear of playing 10. Why was the Globe round? 11. The general and the caviar: learned audiences in the early theatre 12. Headless Coriolanus 13. Rethinking Shylock 14. Measure for Measure's hoods and masks: the Duke, Isabella, and liberty 15. The transforming of Henry V 16. Headgear as a paralinguistic signifier in King Lear 'The cause is in my will': a bibliography.
List of illustrations Acknowledgements Note on the text 1. Introduction 2. Henry Carey's peculiar letter 3. Venues on the verges: London's theatre government between 1594 and 1614 4. Three reluctant patrons and early Shakespeare 5. The great divide of 1594 6. The choice between plays and poems 7. Accommodating the Revels Office 8. The war of 1614-18: Jacobean absolutism, local authority, and a crisis of overproduction 9. Metatheatre and the fear of playing 10. Why was the Globe round? 11. The general and the caviar: learned audiences in the early theatre 12. Headless Coriolanus 13. Rethinking Shylock 14. Measure for Measure's hoods and masks: the Duke, Isabella, and liberty 15. The transforming of Henry V 16. Headgear as a paralinguistic signifier in King Lear 'The cause is in my will': a bibliography.
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