How the idea of Shakespearean authority is still invested in the activities of directing, acting, and scholarship.
of Shakespearean writing that it is impossible to disentangle Shakespeare's “ singular creative agency ” from such “ derivative forms of participation ... Lope de Vega's , Shakespeare's was very different from Jonson's or Middleton's .
This book will appeal both to the professional and academic audience in drama and performance studies, as well as to a wider audience of theatregoers interested in the relationship between writing and performance.
Despite the pervasive consequences of the rise of print on the practice of theatre, and on our understanding of theatre relative ... where skills are taught and transmitted not through reading and writing but through personal training; ...
In a series of probing discussions, Worthen interrogates the interaction of live and mediated acting onstage, the impact of written media from the handwritten scroll to the small-screen app in acting as a technē, the work of Original ...
A study into the way in which modern dramatic printed texts relate to their performance.
Reading the prologue in performed as well as printed contexts, Douglas Bruster and Robert Weimann take us beyond concepts of stability and autonomy in dramatic beginnings to reveal the crucial cultural functions performed by the prologue in ...
The Life and Complete Works of Robert Greene, edited by Alexander B. Grosart. Vol. 12. New York: Russel, 1964. Gurr, Andrew. Playgoing in Shakespeare's London. Cambridge: Cambridge University Press, 1987. Hallet, Bryce.
Like Hunter, Rylance started the opening soliloquy from upstage centre, but whereas Hunter's Richard presented himself to the audience theatrically, Rylance's began almost casually, leaning on one of the tiring house columns.
9 Dominic Cavendish, 'Young People's Shakespeare Hamlet at Claremont School Kingsbury', The Telegraph, 26 January 2010, ... Worthen, Shakespeare and the Authority of Performance, 3. Stephen Purcell, Popular Shakespeare: Simulation and ...
The final two reels of White's film explore this notion of exile in ways that dovetail thematically with the album that Hugh Masekela composed during the making of Othello, titled The Americanization of Ooga Booga (1966).