{"product_id":"a-companion-to-shakespeare-and-performance-paperback-softback-9781405188210","title":"A Companion to Shakespeare and Performance (Paperback \/ softback) 9781405188210","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eA Companion to Shakespeare and Performance\u003c\/font\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\n\u003cp\u003e\u003cfont size=\"4\"\u003eBarbara Hodgdon (Edited by), W. B. Worthen (Edited by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781405188210, Wiley\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 19 September 2008\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e706 pages\u003cbr\u003e24.6 x 17.3 x 3.7 cm, 1.216 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\"The volume compiles superb essays written by an excellent cast of 34 contributors and edited by star scholars\" \u003ci\u003eChoice\u003c\/i\u003e\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eA Companion to Shakespeare and Performance\u003c\/i\u003e provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies.\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eRedraws the boundaries of Shakespeare performance studies.\u003c\/li\u003e \u003cli\u003eConsiders performance in a range of media, including in print, in the classroom, in the theatre, in film, on television and video, in multimedia and digital forms.\u003c\/li\u003e \u003cli\u003eIntroduces important terms and contemporary areas of enquiry in Shakespeare and performance.\u003c\/li\u003e \u003cli\u003eRaises questions about the dynamic interplay between Shakespearean writing and the practices of contemporary performance and performance studies.\u003c\/li\u003e \u003cli\u003eWritten by an international group of major scholars, teachers, and professional theatre makers.\u003c\/li\u003e \u003c\/ul\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003ci\u003eList of Illustrations ix\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eNotes on Contributors xi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eAcknowledgments xvi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: A Kind of History 1\u003cbr\u003e \u003ci\u003eBarbara Hodgdon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Overviews: Terms of Performance 11\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Reconstructing Love: King Lear and Theatre Architecture 13\u003cbr\u003e \u003ci\u003ePeggy Phelan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2 Shakespeare’s Two Bodies 36\u003cbr\u003e \u003ci\u003ePeter Holland\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 Ragging Twelfth Night: 1602, 1996, 2002–3 57\u003cbr\u003e \u003ci\u003eBruce R. Smith\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4 On Location 79\u003cbr\u003e \u003ci\u003eRobert Shaughnessy\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 Where is Hamlet? Text, Performance, and Adaptation 101\u003cbr\u003e \u003ci\u003eMargaret Jane Kidnie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 Shakespeare and the Possibilities of Postcolonial Performance 121\u003cbr\u003e \u003ci\u003eAnia Loomba\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Materialities: Writing and Performance 139\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e7 The Imaginary Text, or the Curse of the Folio 141\u003cbr\u003e \u003ci\u003eAnthony B. Dawson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Shakespearean Screen\/Play 162\u003cbr\u003e \u003ci\u003eLaurie E. Osborne\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9 What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet 179\u003cbr\u003e \u003ci\u003eSimon Palfrey and Tiffany Stern\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10 Editors in Love? Performing Desire in Romeo and Juliet 197\u003cbr\u003e \u003ci\u003eWendy Wall\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 Prefixing the Author: Print, Plays, and Performance 212\u003cbr\u003e \u003ci\u003eW. B. Worthen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Histories 231\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e12 Shakespeare the Victorian 233\u003cbr\u003e \u003ci\u003eRichard W. Schoch\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 Shakespeare Goes Slumming: Harlem ’37 and Birmingham ’97 249\u003cbr\u003e \u003ci\u003eKathleen McLuskie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14 Stanislavski, Othello, and the Motives of Eloquence 267\u003cbr\u003e \u003ci\u003eJohn Gillies\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15 Shakespeare, Henry VI and the Festival of Britain 285\u003cbr\u003e \u003ci\u003eStuart Hampton-Reeves\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 Encoding\/Decoding Shakespeare: Richard III at the 2002 Stratford Festival 297\u003cbr\u003e \u003ci\u003eRic Knowles\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 Performance as Deflection 319\u003cbr\u003e \u003ci\u003eMiriam Gilbert\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18 Maverick Shakespeare 335\u003cbr\u003e \u003ci\u003eCarol Chillington Rutter\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e19 Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing 359\u003cbr\u003e \u003ci\u003ePaul Prescott\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Performing History: Henry IV, Money, and the Fashion of the Times 376\u003cbr\u003e \u003ci\u003eDiana E. Henderson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Performance Technologies, Cultural Technologies 397\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e21 ‘‘Are We Being Theatrical Yet?’’: Actors, Editors, and the Possibilities of Dialogue 399\u003cbr\u003e \u003ci\u003eMichael Cordner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 Shakespeare on the Record 415\u003cbr\u003e \u003ci\u003eDouglas Lanier\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23 SShockspeare: (Nazi) Shakespeare Goes Heil-lywood 437\u003cbr\u003e \u003ci\u003eRichard Burt\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e24 Game Space\/Tragic Space: Julie Taymor’s Titus 457\u003cbr\u003e \u003ci\u003ePeter S. Donaldson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25 Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture 478\u003cbr\u003e \u003ci\u003eElizabeth A. Deitchman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26 Shakespeare on Vacation 494\u003cbr\u003e \u003ci\u003eSusan Bennett\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Identities of Performance 509\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e27 Visions of Color: Spectacle, Spectators, and the Performance of Race 511\u003cbr\u003e \u003ci\u003eMargo Hendricks\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e28 Shakespeare and the Fiction of the Intercultural 527\u003cbr\u003e \u003ci\u003eYong Li Lan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e29 Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare’s Globe 550\u003cbr\u003e \u003ci\u003eG. B. Shand\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e30 Queering the Audience: All-Male Casts in Recent Productions of Shakespeare 564\u003cbr\u003e \u003ci\u003eJames C. Bulman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e31 A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland 588\u003cbr\u003e \u003ci\u003eCourtney Lehmann\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e32 Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions 610\u003cbr\u003e \u003ci\u003eJoanne Tompkins\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Performing Pedagogies 625\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e33 Teaching Through Performance 627\u003cbr\u003e \u003ci\u003eJames N. Loehlin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e34 ‘‘The eye of man hath not heard, \/ The ear of man hath not seen’’: Teaching Tools for Speaking Shakespeare 644\u003cbr\u003e \u003ci\u003ePeter Lichtenfels\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eIndex 659\u003c\/i\u003e\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eSubject Areas: Literature: history \u0026amp; criticism [\u003ca title=\"See our other books on Literature: history \u0026amp; criticism\" href=\"https:\/\/freshlyprintedbooks.co.uk\/search?q=%22Literature:%20history%20\u0026amp;%20criticism%20%5BDS%5D%22\"\u003eDS\u003c\/a\u003e]\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003c\/font\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Brand New","offer_id":52501422145816,"sku":"9781405188210","price":37.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0730\/2037\/5320\/files\/9781405188210.jpg?v=1786237179","url":"https:\/\/freshlyprintedbooks.co.uk\/products\/a-companion-to-shakespeare-and-performance-paperback-softback-9781405188210","provider":"Freshly Printed Books","version":"1.0","type":"link"}