Building on current scholarly interest in the religious dimensions of the play, this study shows how Shakespeare uses Hamlet to comment on the Calvinistic Protestantism predominant around 1600.
This volume explores Shakespeare's interest in pity, an emotion that serves as an important catalyst for action within the plays, even as it generates one of the audience's most common responses to tragic drama in the theater.
As one of the most adventurous literary and cultural critics of his generation, Terence Hawkes' contributions to the study of Shakespeare and the development of literary and cultural theory have been immense.
Moving beyond traditional studies of sources and influence, Shakespeare's Marlowe analyzes the uncommonly powerful aesthetic bond between Christopher Marlowe and William Shakespeare.
Following on from the phenomenally successful Shakespeare, The Movie, this volume brings together an invaluable new collection of essays on cinematic Shakespeares in the 1990s and beyond.
Making Shakespeare is a lively introduction to the major issues of the stage and print history, whilst also raising questions about what a Shakespeare play actually is.
The theoretical ferment which has affected literary studies over the last decade has called into question traditional ways of thinking about, classifying and interpreting texts.
Magical Transformations on the Early Modern Stage furthers the debate about the cultural work performed by representations of magic on the early modern English stage.
Railing, Reviling, and Invective in English Literary Culture, 1588-1617 is the first book to consider railing plays and pamphlets as participating in a coherent literary movement that dominated much of the English literary landscape during the late Elizabethan/early Jacobean period.
Giordano Bruno's visit to Elizabethan England in the 1580s left its imprint on many fields of contemporary culture, ranging from the newly-developing science, the philosophy of knowledge and language, to the extraordinary flowering of Elizabethan poetry and drama.
This book begins by asking about the memorial issues involved in the replaying of an old history play, Shakespeare and Fletcher's Henry VIII, at the Globe on 29 July 1628, but it is not primarily concerned with the memory of a single individual, George Villiers, 1st Duke of Buckingham who paid for the production, nor even of a single day, when he seemed to try to evoke the memories of a small group of people gathered at the theatre for a singular purpose.
Early Modern Drama in Performance is a collection of essays in honor of Lois Potter, the distinguished author of five monographs, including most recently The Life of William Shakespeare (2012), and numerous articles, edited collections, and editions.
Critical investigation into the rubric of 'Shakespeare and the visual arts' has generally focused on the influence exerted by the works of Shakespeare on a number of artists, painters, and sculptors in the course of the centuries.
This fully updated and revised fourth edition of Theory/Theatre is a unique and highly engaging introduction to cultural theory as it relates to theatre and performance.
According to psychological research on acting, the histrionic personality consists of a compulsive tendency to play-act, exaggerate emotions, succumb to illusions, to seek attention through speech, body language, and costume, to be seductive and impulsive.
Contending that criticism of Marlowe's plays has been limited by humanist conceptions of tragedy, this book engages with trauma theory, especially psychoanalytic trauma theory, to offer a fresh critical perspective within which to make sense of the tension in Marlowe's plays between the tragic and the traumatic.
With a panoramic sweep across continents and topics, Early Modern Improvisations is an interdisciplinary collection that analyzes the relationship between early modern literature and history through lenses such as gender, ethnicity, sexuality, religion, and politics.
First published in 1978, this work bridges the gap between the study of poetic form, which tends to isolate form from meaning and structural poetics, which tends to focus on meaning without considering the stanza's impact.
The Shakespeare Masterclasses is a collection of rare interviews from many of the world's most renowned Shakespearean actors, exploring their varied approaches to topics including character creation, script analysis, acting for the stage and the camera, rehearsal, preparation, and collaboration.
In How and Why We Teach Shakespeare, 19 distinguished college teachers and directors draw from their personal experiences and share their methods and the reasons why they teach Shakespeare.
This volume gives Asia's Shakespeares the critical, theoretical, and political space they demand, offering rich, alternative ways of thinking about Asia, Shakespeare, and Asian Shakespeare based on Asian experiences and histories.
Bringing Shakespeare to the Sunshine State, this book gathers together a talented group of teachers, choreographers, directors, set designers, musicians, costumers, actors, and artists to discuss how they have adapted the bard's monologues in Miami, assassinated Julius Caesar on the steps of Tallahassee's Capitol, trained students to duel in Florida's Panhandle, placed Shylock on trial in Orlando, and transformed Gainesville into Puck's magical forest.
Analyzing Elizabethan and Jacobean playtexts for their spatial implications, this innovative study discloses the extent to which the resources and constraints of public playhouse buildings affected the construction of the fictional worlds of early modern plays.
The marriage between a duke and Amazon queen sparks a massive celebration, which leads to a congregation of woodland residents, Fairyland creatures and surprising lovers.
An absorbing and original addition to Shakespeareana, this handbook of production is for all lovers of Shakespeare whether producer, player, scholar or spectator.
In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare.
