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.
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.
This engaging and stimulating book argues that Shakespeare's plays significantly influenced movie genres in the twentieth century, particularly in films concerning love in the classic Hollywood period.
Taking cross-disciplinary and comparative approaches to the volume's subject, this exciting collection of essays offers a reassessment of Shakespeare's erotic and Ovidian mythology within classical and continental aesthetic contexts.
This book redirects attention to a truth largely ignored by recent criticism-that Shakespeare's excellence as a playwright is inextricable from his excellence as a poet.
Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society.
Modern biographies of William Shakespeare abound; however, close scrutiny of the surviving records clearly show that there is insufficient material for a cradle to grave account of his life, that most of what is written about him cannot be verified from primary sources, and that Shakespearean biography did not attain scholarly or academic respectability until long after Samuel Schoenbaum published William Shakespeare A Documentary Life in 1975.
The Tree of Life and Arboreal Aesthetics in Early Modern Literature explores the vital motif of the tree of life and what it meant to early modern writers who drew from its long histories in biblical, classical and folkloric contexts, giving rise to a language of trees, an arboreal aesthetics.
In Shakespeare in Three Dimensions, Robert Blacker asks us to set aside what we think we know about Shakespeare and rediscover his plays on the page, and as Shakespeare intended, in the rehearsal room and in performance.
African Shakespeare: Subversions, Appropriations, Negotiations uncovers the multidimensional inventions, synergies, and experimentations that have emerged from performative, political, literary, and conceptual encounters with Shakespeare and his oeuvre in African contexts.
Expanding the scholarly conversation about anonymity in Renaissance England, this essay collection explores the phenomenon in all its variety of methods and genres as well as its complex relationship with its alter ego, attribution studies.
From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms.
Although a third of his plays are set in the ancient world and he constantly used classical mythology, history, and ideas, Shakespeare received a simple grammar school education and did not have a scholar's knowledge of the classics.
Four hundred years after William Shakespeare's death, his works continue to not only fill playhouses around the world, but also be adapted in various forms for consumption in popular culture, including in film, television, comics and graphic novels, and digital media.
Drawing on debates around the global/local dimensions of cultural production, an international team of contributors explore the appropriation of Shakespeare's plays in film and performance around the world.
Identifying the stage as a primary site for erotic display, these essays take eroticism in Renaissance culture as a paradigm for issues of sexuality and identity in early modern culture.
`Professor Mahood's book has established itself as a classic in the field, not so much because of the ingenuity with which she reads Shakespeare's quibbles, but because her elucidation of pun and wordplay is intelligently related both to textual readings and dramatic significance.
This classic of Shakespeare scholarship begins with a masterly introductory essay analysing and exemplifying the various categories of sexual and non-sexual bawdy expressions and allusions in Shakespeare's plays and sonnets.
Though modern readers no longer believe in the four humors of Galenic naturalism-blood, choler, melancholy, and phlegm-early modern thought found in these bodily fluids key to explaining human emotions and behavior.
Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history.
First published in 1986, this title examines a set of English Renaissance texts by Shakespeare, Spenser, Herbert, Marvell and Milton, within the theoretic framework of postmodern thought.
Speaking to readers in a voice that is adventurous rather than authoritative, innovative rather than institutional and speculative rather than orthodox, Linda Charnes' provocative study of Shakespeare's legacy in contemporary American and British politics explores the following themes: namesake princes and presidents stolen thrones and elections plutocrats and insurgents campaign trails and war-mongering waning monarchy and imperilled democracy revengers, early modern and postmodern.
