|1590 to 2005|
|Written by Administrator|
|Wednesday, 16 March 2005 12:09|
As You Like It, I,2: the wrestling scene, at the Drury Lane Theatre, London; 19th c.
PREFACE TO PERFORMANCES FROM 1590 TO 2005
One of the principal implications of the following entries, and the relevant illustrative material in the Performance Galleries, is that each age stages and perceives the character of Shakespeare’s plays as refracted through its own values and conventions, not just in terms of religious, political, social and aesthetic values, but even in terms of acceptable costumes and scenery. The effects of such refractions of the texts usually involve drastic cuts, emendations, and re-editing. This type of modification has long been identified in such periods as the Restoration, with its reinforcement of neoclassical norms, such as the unities of time, place and action, and the preference for purity of genres such as tragedy and comedy. However, it is now generally perceived that, while the nineteenth century restored much of the original scripts to the stage, these more authentic versions had still to be trimmed severely to accommodate handling of the complex, historically elaborate scenery then fashionable. Act V of Beerbohm Tree’s Henry VIII disappeared entirely.
Agate, James E., Brief Chronicles: A Survey of the Plays of Shakespeare and the Elizabethans in Actual Performance, London: Jonathan Cape, 1943.
Agate, James E., ed., English Dramatic Critics: 1660-1932: An Anthology, London, Arthur Barke,r 1932 [reprint New York, 1958].
Birmingham Public Library, Shakespeare and the Stage, Series 3, Part 1: Prompt Books and related Materials [Frank Benson, Gordon Crosse, etc.; 10 microfilm reels] Brighton: Harvester Microform, 1986.
Brook, Donald, A Pageant of English Actors, London: Rockliff, 1950.
Bruster, Douglas, and Weimann, Robert, Prologues to Shakespeare's Theatre: Performance and Liminality in Early Modern Drama, London: Routledge, 2004.
Cobb, Christopher J., The Staging of Romance in Late Shakespeare: Text and Theatrical Technique, Newark: University of Delaware Press, 2007.
Conolly, Leonard W., and J. P. Wearing, eds., English Drama and Theatre, 1800-1900: A Guide to Information Sources, Detroit: Gale Research Co., 1978.
Cook, Dutton, A Book of the Play: Studies and Illustrations of the Histrionic Story, Life and Character, London: Sampson Low, Marston, Searle & Rivington, 1881.
Crane, Mary Thomas, "The Shakespearean Tetralogy," Shakespeare Quarterly 36.3 (1985), 282-99.top
Dessen, Alan C., Rescripting Shakespeare: The Text, the Director, and Modern Productions, Cambridge: Cambridge University Press, 2002.
Dibdin, Charles, A Complete History of the Stage, 5 Vols., London: Charles Dibdin, 1800.
Dictionary of National Biography, Leslie Stephen, Sidney Lee, eds., London: Smith, Elder & Co. , 1885-1900.
Dixon, Luke, The Performance of Gender with Particular Reference to the Plays of Shakespeare, Middlesex University, 1998.
Engler, Balz, "'Else my project fails': Applause and the Authority of Shakespeare's Texts," Cahiers Elisabethains 44 (1993): 23-31.
Esche, Edward J., ed., Shakespeare and His Contemporaries in Performance, Aldershot: Ashgate, 2000.
Evans, Gareth & Barbara Lloyd, The Shakespeare Companion, New York; Charles Scribner's, 1978. top
Fischlin, Daniel, and Mark Fortier, eds., Adaptations of Shakespeare: An Anthology of Plays from the 17th century to the Present, New York and Milon Park, U.K.: Routledge, 2000.
Folger Library, Shakespeare and the Stage: Series 1: Prompt Books from the Folger Shakespeare Library [86 microfilm reels] Brighton: Harvester Microform, 1985.
Gale. Maggie B.. and John Stokes, eds., The Cambridge Companion to the Actress, Cambridge: Cambridge University Press, 2007
Gilman, Ernest B., "History as Spectacle in Shakespeare" Susquehanna University Studies 11.4 (1982): 183-91.
Goldman, Michael, Shakespeare and the Energies of Drama. Princeton: Princeton University Press, 1972.
Gonzalez Fernandez de Sevilla, Jose Manuel, "Vicisitudes y desventuras del Shakespeare espanol." Shakespeare en Espana (1993): 17-38.
Gooch, Bryan N. S., and David Thatcher, A Shakespeare Music Catalogue, 5 vols. Oxford: Clarendon press, 1991.
Gross, John, ed., After Shakespeare, New York: Oxford UP, 2002.top
Haberman, Ina, Staging Slander and Gender in early Modern England, Aldershot: Ashgate, 2003.
Halstead, William P. Shakespeare as Spoken: A Collation of 5000 Acting Editions and Promptbooks of Shakespeare. 12 Vols. Ann Arbor: Univ. Microfilms International, for the American Theater Association, 1977-80.
Hamilton, Fiona, “Dig at new theatre site reveals Shakespeare’s first playhouse,” The Times. London, August 6, 2008, p. 18.
Highfill, Philip, et al., A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, 16 vols., Carbondale: Southern Illinois University Press, 1991.
Hirsch, James E., Shakespeare and the History of Soliloquies, Madisdon N.J.: Farleigh Dickinson University, 2003.
Hitchcock, Robert, An Historical View of the Irish Stage; From the Earliest Period Down To the Close of the Season 1788. Interspersed With Theatrical Anecdotes, And An Occasional Review Of The Irish Dramatic Authors and Actors, Dublin, Marchbank, 1788-94.
Hoenselaars, Ton, Shakespeare's History Plays: Performance, Translation and Adaptation in Britain and Abroad, Cambridge: Cambridge University Press, 2005.
Hodgdon, Barbara, and W. B. Worthen, eds., A Companion to Shakespeare and Performance, Oxford: Blackwell, 2005.
Homan, Sidney, ed. Shakespeare's "More Than Words Can Witness": Essays on Visual and Nonverbal Enactment in the Plays. Lewisburg: Bucknell Univ. Press, 1980.
Huang, Alexander, C. Y., Chinese Shakespeares; Two Centuries of Cultural Exchange, New York: Clomba Unversity Press, 2009.top
Iser, Wolfgang, Staging Politics: the Lasting Impact of Shakespeare's Histories, New York: Columbia University Press, 1993.
Irace, Kathleen O., Performing the Bad Quartos: Performance and Provenace of Six Shakespeare First editions, Newark: University of Delaware, 1994.
Ireland, Joseph N., Records of the New York Stage, From 1750 to 1860,
Jewkes, Wilfred T. Act Division in Elizabethan and Jacobean Plays: 1583-1616. top
Kathman, David, Biographical Index of English Drama Before 1660[: a Complete Annotated List of All Playwrights, Actors, Patrons, Musicians, and Miscellaneous Other People Active in English Drama Before 1660]:http://shakespeareauthorship.com/bd/
Kiefer, Frederick, Shakespeare's Visual Theatre: Staging the Personified Characters, New York: Columbia University Press, 2003.
Knapp, Richard J., A Consideration of the Relationship Between Performance and Criticism in the Work of Shakespeare, Bristol: University of the West of England, 2005.
Lamb, Charles, "On the Tragedies of Shakespeare Considered with Reference to Their Fitness for Stage Presentation," in D. Nichol Smith, ed., Shakespeare Criticism, London: Oxford University Press, 1919, pp. 190-212.
Langbaine, Gerald, An Account of the English Dramatick Poets, [Oxford. 1691] New York: Garland, 1973.
Lowe, Robert, James Arnott and John Robinson, English Theatrical Literature,1559-1900 A Bibliography. Incorporating Lowe's A Bibliographical Account of English Theatrical Literature , London: Society for Theatre Research, 1970.
Marshall, Gail, ed., Lives of Shakespearian Actors, 3 vols., Williston VT: Ashgate, 2007.
Marshall, Norman. The Producer and the Play. London: MacDonald, 1958. Revised, 1962.
Nagler. A. M., A Source Book in Theatrical History, New York: Dover, 1952.
Nelson, Paul, & Jane Schlueter, eds., Acts of Criticism: Performance Matters in Shakespeare and his Contemporaries, Cranbury N.J.: Fairleigh Dickinson University Press, 2006.
Nordlund, Marcus, Shakespeare and the Nature of Love: Literature, Culture, Evolution, Evanston, Ill.: Northwestern University Press, 2007.top
Occhiogrosso, Frank, ed., Shakespeare in Performance: a Collection of Essays, Newark: University of Delaware Press, 2003.
Orlin, Lena Cowan and Miranda Johnson-Haddad, eds.,
Orrell, John, The Theatres of Inigo Jones and John Webb, Cambridge: Cambridge University Press, 1985.top
Oxford Dictionary of National Biography, Colin Matthew & Brian Harrison, eds., Oxford: Oxford University Press, 2000.
Palfrey, Simon, and Tiffany Stern, Shakespeare in Parts, Oxford: Oxford Unversity Prss, 2007.
Pane, R. U., English Translations from the Spanish 1484-1943, New Brunswick: Rutgers University Press, 1944.
Pemble, John, Shakespeare Goes to Paris: How the Bard Conquered France, London, New York: Hambledon.2005
Playfair, Nigel Ross, The Story of the Lyric Theatre, London, Chatto & Windus, 1925.
Potter, Lois, "The Second Tetralogy: Performance as Interpretation" in A Companion to Shakespeare's Works, Volume II: The Histories, ed. Richard Dutton and Jean E. Howard, Malden: Blackwell, 2003, 287-307.
Potter, Lois and Arthur F. Kinney, eds. Shakespeare: Text and Theatre. Essays in Honor of Jay L. Halio . Newark: University of Delaware Press, 1999.
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Rabkin, Norman, Shakespeare and the Problem of Meaning, Chicago: Chicago University Press, 1981
Richman, David, Laughter, Pain and Wonder: Shakespeare's Comedies and the Audience in the Theatre, Newark: Universityof Delaware Press, 1990.
Richmond, Hugh M., "The Dark Lady as Reformation Mistress," Kenyon Review, III.2 (Spring,1986), 91-105
Sprague, Arthur Colby, Shakespearian Players and Performances, London: Adam and Charles Black, 1954.
Sprague, Arthur Colby. Shakespeare's Histories: Plays for the Stage. London: Society for Theatre Research, 1966.
Stern, Tiffany, Rehearsal from Shakespeare to Sheridan, Oxford: Oxford University Press, 2000.
Stribrny, Zdenek, The Whirligig of Time: Essays on Shakespeare and Czechoslovakia, ed. Lois Potter, Newark: University of Delaware Press, 2007. top
Tanitsch, Robert, A Pictorial Companion to Shakespeare's Plays, London: Muller, 1982.
Teague, Frances, Shakespeare and the American Popular Stage, Cambridge: Cambridge University Press, 2007.
Teague, Frances, Shakespeare's Speaking Properties, Cranbury, N.J.: Bucknell University Press, 1991.
Thompson, Marvin and Ruth, eds. Shakespeare and the Sense of Performance: Essays in the Tradition of Performance Criticism in Honor of Bernard Beckerman. Newark: Univ. of Delaware Press, 1989.top
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Vaughan, Virginia Mason, Performing Blackness on English stages, 1500-1800, New York: Cambridge University Press, 2005.
Van Lennep, William, Emmett L. Avery, Arthur H. Scouten, George Winchester Stone, Jr., and Chalres Beecher Hogan, eds. The London Stage, 1660-1800: A Calendar or Plays, Entertainments and Afterpieces, together with Casts, Box-Receipts and Contemporary Comment, Compiled from the Playbills, Newspapers and Theatrical Diaries of the Period. 5 parts. Carbondale (IL): University of Illinois Press,, 1960-1968.
Velz, John, Shakespeare and the Classical Tradition: A Critical Bibliography and Commentary 1660-1960, Minneapolis: University of Minnesota Press, 1968.
Watkins, Ronald. On Producing Shakespeare. London: Michael Joseph, 1950. Repr.: New York: Benjamin Bloom, 1964.
Weingust, Don, Acting from Shakespeare's First Folio: Theory, Text and Performance, New York and Milton Park, U.K.: 2006.
Wells, Stanley, ed. The Cambridge Companion to Shakespeare Studies. Cambridge: Cambridge University Press, 1986. Rept. 1991.
Williams, Simon, Shakespeare on the German Stage: 1586-1914, Volume I, Cambridge: Cambridge U. Press, 2004.
Wyndam, Henry Saxe, ed. The Annals of Covent Garden Theatre from 1732-1897, 2 vols., London: Chatto & Windus, 1906.
Xavier University Library, Shakespeare Editions and Adaptations at;
The rebuilt Globe Theatre stands as a link between Shakespeare's time and our own.
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