This book collects essays by actors, directors, scholars, and teachers who are exploring the ways in which the plays of William Shakespeare and his contemporaries were-and still are-performed.
This book collects essays by actors, directors, scholars, and teachers who are exploring the ways in which the plays of William Shakespeare and his contemporaries were-and still are-performed.
Catherine Loomis is professor of English and women's studies at the University of New Orleans. She is the author of William Shakespeare: A Documentary Volume and The Death of Elizabeth I: Remembering and Reconstructing the Virgin Queen. Sid Ray is professor of English and women's and gender studies at Pace University, New York campus. She is the author of Holy Estates: Marriage and Monarchy in Shakespeare and his Contemporaries and Mother Queens and Princely Sons: Rogue Madonnas in the Age of Shakespeare.
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Acknowledgments Dedication Foreword Ralph Alan Cohen The Bear Stage Catherine Loomis and Sid Ray Part I "Edit, pursued by a bear": Essays on Editing Shakespeare for the Stage and the Page 1 "Now this is where you can bring in Cleopatra's horse": Editing Shakespeare for the Stage Ann Thompson 2 Patient Auditor to Gentle Reader: Transforming the Introduction from Playhouse to Print House Ann Pleiss Morris 3 "Why do you thus exclaim?": Emotionally Inflected Punctuation in Editorial Practice and in Performance Cass Morris Part II: "I must bear a part": Essays on Analyzing and Playing Character 4 Why Are Shakespeare's Characters So Relatable? Matt Kozusko 5 Anatomiz[ing] Regan: Performing Parts in King Lear" Paige Martin Reynolds 6 A Piece of Cake, a Bit of Dance, and a Fat Suit on Its Knees: Staging the Epilogue of 2 Henry IV at the Blackfriars in 2010 James Keegan 7 Isabella in Measure for Measure: Discovering the Pleasure of Performance Celestine Woo 8 "You that way, we this way": Letters and Possibilities in Love's Labour's Lost Sybille Bruun 9 Moll's Queer Anatomy: The Roaring Girl and Queer Generation Christopher Clary 10 Imaginative Bodies and Bodies Imagined in Shakespeare's The Tempest and Fletcher and Massinger's The Sea Voyage Michael Wagoner Part III "Devil in a bear's doublet": Essays on Shaping Performance 11 The Thundering Audience of King Lear Heidi N. Cephus 12 "Off with his head! ... So much for [Hewlett/Brown]": The African Grove Theatre Presents Richard III Danielle Rosvally 13 "To make the unskillful laugh": A Rhetoric of Belches in Twelfth Night Sid Ray 14 "And are by child with me": The Performance of Pregnancy in Shakespeare's All's Well That Ends Well Kathryn M. Moncrief 15 "Your majesty came not like yourself": Staging and Understanding the Glove Episode of Henry V Annalisa Castaldo 16 Bringing Justice to Bear: An Unusual 1609 Trial Catherine Loomis Part IV: "Dissembling Cub[s]": Essays on Staging the Metatheatrical 17 Doubling in The Comedy of Errors Alan Armstrong 18 Scare Bear: Playing with Mucedorus Peter Hyland 19 "Pardon, gentles all": Performing the Metatheatrical Deb Streusand 20 Craving the Law in The Merchant of Venice, or How to Draft an Enforceable Contract for a Pound of Flesh Kimberly West Part V "Bear the Verses": Essays on Rhetoric and Performance 21 Refiguring Richard: Towards a Hermeneutics of the Figure Peter Kanelos 22 "Ah, poor our sex! This fault in us I find": Performative Silences in Troilus and Cressida Fiona Harris-Ramsby 23 Shakespeare and the History of the Bookish Russ McDonald About the Contributors
Acknowledgments Dedication Foreword Ralph Alan Cohen The Bear Stage Catherine Loomis and Sid Ray Part I "Edit, pursued by a bear": Essays on Editing Shakespeare for the Stage and the Page 1 "Now this is where you can bring in Cleopatra's horse": Editing Shakespeare for the Stage Ann Thompson 2 Patient Auditor to Gentle Reader: Transforming the Introduction from Playhouse to Print House Ann Pleiss Morris 3 "Why do you thus exclaim?": Emotionally Inflected Punctuation in Editorial Practice and in Performance Cass Morris Part II: "I must bear a part": Essays on Analyzing and Playing Character 4 Why Are Shakespeare's Characters So Relatable? Matt Kozusko 5 Anatomiz[ing] Regan: Performing Parts in King Lear" Paige Martin Reynolds 6 A Piece of Cake, a Bit of Dance, and a Fat Suit on Its Knees: Staging the Epilogue of 2 Henry IV at the Blackfriars in 2010 James Keegan 7 Isabella in Measure for Measure: Discovering the Pleasure of Performance Celestine Woo 8 "You that way, we this way": Letters and Possibilities in Love's Labour's Lost Sybille Bruun 9 Moll's Queer Anatomy: The Roaring Girl and Queer Generation Christopher Clary 10 Imaginative Bodies and Bodies Imagined in Shakespeare's The Tempest and Fletcher and Massinger's The Sea Voyage Michael Wagoner Part III "Devil in a bear's doublet": Essays on Shaping Performance 11 The Thundering Audience of King Lear Heidi N. Cephus 12 "Off with his head! ... So much for [Hewlett/Brown]": The African Grove Theatre Presents Richard III Danielle Rosvally 13 "To make the unskillful laugh": A Rhetoric of Belches in Twelfth Night Sid Ray 14 "And are by child with me": The Performance of Pregnancy in Shakespeare's All's Well That Ends Well Kathryn M. Moncrief 15 "Your majesty came not like yourself": Staging and Understanding the Glove Episode of Henry V Annalisa Castaldo 16 Bringing Justice to Bear: An Unusual 1609 Trial Catherine Loomis Part IV: "Dissembling Cub[s]": Essays on Staging the Metatheatrical 17 Doubling in The Comedy of Errors Alan Armstrong 18 Scare Bear: Playing with Mucedorus Peter Hyland 19 "Pardon, gentles all": Performing the Metatheatrical Deb Streusand 20 Craving the Law in The Merchant of Venice, or How to Draft an Enforceable Contract for a Pound of Flesh Kimberly West Part V "Bear the Verses": Essays on Rhetoric and Performance 21 Refiguring Richard: Towards a Hermeneutics of the Figure Peter Kanelos 22 "Ah, poor our sex! This fault in us I find": Performative Silences in Troilus and Cressida Fiona Harris-Ramsby 23 Shakespeare and the History of the Bookish Russ McDonald About the Contributors
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