The characters of Twelfth Night are both memorable and engaging and it is through their funny, and at times bitter, interplay that we experience the peculiar world of Shakespeare's Illyria.
In Performing Autobiography, Jenn Stephenson presents an innovative new approach to autobiography studies that links the growing field of research to drama.
Adrian Poole examines the Victorian's obsession with Shakespeare, his impact upon the era's consciousness, and the expression of this in their drama, novels and poetry.
Spain alone produced a Renaissance drama comparable to that of England, yet the two nations were enemies, separated by the worldwide conflict of Catholics and Protestants.
The concepts of trust and risk provide important insights into the social and cultural life of early modern England but remain relatively unexplored in early modern literary studies.
The study of medieval drama has long been hindered by the absence of a centralized, comprehensive bibliography that accommodates the wide-ranging interests of scholars and students.
Reeve provides a detailed discussion of Klesel's importance in Ein Bruderzwist in Habsburg and examines possible predecessors for the Federfuchser: Wurm from Friedrich von Schiller's Kabale und Liebe, the Sekretar in Johann Wolfgang von Goethe's Die naturliche Tochter, and Leonhard in Friedrich Hebbel's Maria Magdalene.
This Handbook provides an introductory guide to Much Ado About Nothing offering a scene-by-scene theatrically aware commentary, contextual documents, a brief history of the text and first performances, case studies of key productions, a survey of film and TV adaptation, a wide sampling of critical opinion and further reading.
Based on the true story of the murder of Thomas Arden by his wife, her lover and accomplices in 1551, Arden of Faversham is one of the earliest domestic tragedies and a play which has continued to thrill audiences since its first staging.
Most scholarly attention on Shakespeare's vocabulary has been directed towards his enrichment of the language through borrowing words from other languages and has thus concentrated on the more learned aspects of his vocabulary.
During the 1820s and 30s nautical melodramas "e;reigned supreme"e; on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres.
Shakespeare in the 'Post'Colonies provides a wide-ranging examination of engagements with and adaptations of Shakespeare in regions that were once under European colonial rule.
Bill Bryden's Cottesloe Company, which flourished at Peter Hall's National Theatre, was the English theatre's only true ensemble of the last thirty or so years.
Queer Shakespeare: Desire and Sexuality draws together 13 essays, which offer a major reassessment of the criticism of desire, body and sexuality in Shakespeare's drama and poetry.
Staging the revolution offers a reappraisal of the weight and volume of theatrical output during the commonwealth and early Restoration, both in terms of live performances and performances on the paper stage.
The influence of the women's movement has long been a scholarly priority in the study of British women's drama of the late nineteenth and early twentieth centuries, but previous scholarship has largely clustered around two events: the New Woman in the 1890s and the suffrage campaign in the years before the First World War.
