Classic and pre-20th century plays

To prolong the inevitable, a king attempts to preserve a painter's life when he discovers, through his astrological chart, that their fates are suddenly intertwined.

This landmark publication is printed in clear, legible type.

With the publication of Brian Gibbons's Jacobean City Comedy thirty-five years ago, the urban satires by Ben Jonson, John Marston and Thomas Middleton attained their 'official status as a Renaissance subgenre' that was distinct, by its farcical humour and ironic tone, from 'citizen comedy' or 'London drama' more generally.

Originally published in 1986.

The problem of justice seems to have haunted Shakespeare as it haunted Renaissance Christendom.

Facial Hair and the Performance of Early Modern Masculinity is the first full-length critical study to analyse the importance of beards in terms of the theatrical performance of masculinity.

The potential duality of human character and its capacity for dissembling was a source of fascination to the Elizabethan dramatists.

Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood suggests that the recent critical attention to the gendered, classed, and raced elements of the embodied early modern subject has been hampered by its failure to acknowledge the role time and temporality play within the scope of these admittedly crucial concerns.

The Shakespearean International Yearbook surveys the present state of Shakespeare studies in global contexts, addressing issues that are fundamental to our interpretive encounter with Shakespeare's work and his time.

Revisiting Shakespeare's Italian Resources is about the complex dynamics of transmission and transformation of the Italian sources of twelve Shakespearean plays, from The Two Gentlemen of Verona to Cymbeline.

This book rediscovers a spiritual way of preparing the actor towards experiencing that ineffable artistic creativity defined by Konstantin Stanislavski as the creative state.

Leftist thought and activism stands as a defining force in the articulation of political culture and policy in modern Japan.

Through detailed discussion of plays by Shakespeare and Marlowe, Poole explores the supernatural in sixteenth- and seventeenth-century England.

Spanning the period from Elizabeth I's reign to Charles II's restoration, this study argues the garden is a primary site evincing a progressive narrative of change, a narrative that looks to the Edenic as obtainable ideal in court politics, economic prosperity, and national identity in early modern England.

Through mainly a New Historicist critical approach, this book explores how Shakespeare and Achebe employ supernatural devices such as prophecies, dreams, gods/goddesses, beliefs, and divinations to create complex characters.

An examination of political and cultural acts of commemoration, this study addresses the way personal and collective loss is registered in prose, poetry and drama in early modern England.

The essays in Word and Self Estranged in English Texts, 1550-1660, consider diverse historical contexts for writing about 'strangeness'.

Worthen uses contemporary Shakespeare performance to explore the technicity of theatre: its changing work as an intermedial technology.

Iago's 'I am not what I am' epitomises how Shakespeare's work is rich in philosophy, from issues of deception and moral deviance to those concerning the complex nature of the self, the notions of being and identity, and the possibility or impossibility of self-knowledge and knowledge of others.

"e;What is the most wonderful thing about teaching this play in our classrooms?

This book explores how humans in the Renaissance lived with, attended to, and considered the minds, feelings, and sociality of other creatures.

In order to win the wealthy Portia's hand in marriage, Bassanio thinks he needs money to impress her.

A study of common and exotic food in Shakespeare's plays, this is the first book to explore early modern English dietary literature to understand better the significance of food in Shakespearean drama.

Shakespeare wrote more than fifty parts for children, amounting to the first comprehensive portrait of childhood in the English theatre.

Das dritte Bruno Snell-Symposion stellt die interdisziplinären Beiträge zur Aktualisierung von Antike unter den Leitbegriff der Inszenierung.

This volume proposes new insights into the uses of classical mythology by Shakespeare and his contemporaries, focusing on interweaving processes in early modern appropriations of myth.

Provides a comprehensive critical engagement with Roman comedy and its reception presented by leading international scholars in accessible and up-to-date chapters.

Award-winning poet and playwright Robert Bagg offers a set of exciting and authentic new translations of Oedipus the King, Oedipus at Kolonos, and Antigonetogether known as The Oedipus Cycle.

Performing Shakespeare Unrehearsed: A Practical Guide to Acting and Producing Spontaneous Shakespeare outlines how Shakespeare's plays can be performed effectively without rehearsal, if all the actors understand a set of performance guidelines and put them into practice.

Originally published in 1930, this classic of modern Shakespeare criticism proves both enlightening and innovative.

'What's in a name?

Combines the critical and the creative, looking at the collisions that arise when Shakespeare texts are recreated in contemporary contexts.

Presenting an interesting approach to this once marginalized play, this edition addresses issues including collaboration, performance history, craftsmanship and sources.

The first New Cambridge Shakespeare edition of King Henry VIII, edited by John Margeson.

This volume is a comprehensive collection of critical essays on The Taming of the Shrew, and includes extensive discussions of the play's various printed versions and its theatrical productions.

This study commences with a simple question: how did Russia matter to England in the age of William Shakespeare?

In the 18th century Italian theatre and its artists became vital to Russian rulers, who employed Italian musico-dramatic works to advance their political agendas and emphasize Russia's cultural uniqueness and its cosmopolitan character.

El presente volumen ofrece al lector el estudio y la edición crítica de La aurora en Copacabana, la única comedia de tema americano que conservamos de Pedro Calderón de la Barca.

The Critical Heritage gathers together a large body of critical sources on major figures in literature.

Playing Bit Parts in Shakespeare is a unique survey of the small supporting roles - such as foils, feeds, attendants and messengers - that feature in Shakespeare's plays.

Though representations of alien languages on the early modern stage have usually been read as mocking, xenophobic, or at the very least extremely anxious, listening closely to these languages in the drama of Shakespeare and his contemporaries, Marianne Montgomery discerns a more complex reality.

Seeing Shakespeare's Style offers new ways for readers to perceive Shakespeare and, by extension, literary texts generally.

Shakespeare, the Renaissance and Empire: Poetry, Philosophy and Politics is the second volume of this study and builds on the first, which concentrated on related matters, including geography and language.

Shakespeare was fascinated by power throughout his career but also understood its dangers and limits.

The essays gathered here demonstrate and justify the excitement and promise of cognitive historicism, providing a lively introduction to this new and quickly growing area of literary studies.

Reading Shakespeare through Philosophy advocates that the beauty of Shakespearean drama is inseparable from its philosophical power.

Innovation & Digital Theatremaking introduces a blueprint for how to think differently about Theatre, how to respond creatively in uncertainty, and how to wield whatever resources are available to create new work in new ways.

Bunthorne is an aesthetic poet struggling with the legitimacy of his work and the female adoration it brings, when one woman suddenly rejects his advances.

Reading Drama in Tudor England is about the print invention of drama as a category of text designed for readerly consumption.

How do performances of Shakespeare change the meanings of the plays?