Shakespeare in Parts

Shakespeare in Parts

Shakespeare in Parts

Shakespeare in Parts

eBook

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Overview

Shakespeare's drama originally circulated in the form of the individual actor's part, containing only a single character's speeches and brief cues. This unique collaboration of original theatre history with exciting literary criticism captures anew Shakespeare's development as a writer, showing how scripting and acting work together to produce characters of unprecedented immediacy.

Product Details

ISBN-13: 9780191608452
Publisher: OUP Oxford
Publication date: 09/27/2007
Sold by: Barnes & Noble
Format: eBook
File size: 5 MB

About the Author

Tiffany Stern is a Lecturer in English Literature at Oxford University, and the Beaverbrook and Bouverie Fellow and Tutor in English Literature at University College, Oxford. She specialises in Shakespeare, theatre history from the sixteenth to the eighteenth century, book history, and editing. Her publications include Rehearsal from Shakespeare to Sheridan (OUP, 2000), Making Shakespeare (Routledge, 2004), and numerous articles and chapters exploring theatrical and editorial concerns of the early modern period. She has also edited the anonymous King Leir and Sheridan's The Rivals and is currently editing George Farquhar's Recruiting Officer, Brome's Jovial Crew, and Shakespeare's Merry Wives.

Simon Palfrey is Lecturer in English at Oxford University and a Fellow of Brasenose College, Oxford. He is the author of Late Shakespeare: a New World of Words(OUP, 1997; paperback, 2000), Doing Shakespeare (Arden, 2004), and articles on Kierkegaard and the ethics and phenomenology of drama.

Table of Contents

INTRODUCTIONI: HISTORY1. The Actor's Part2. The Actors3. Rehearsing and PerformingII: INTERPRETING CUES4. History of the Cue5. Interpreting Shakespeare's Cues6. Cues and Characterisation7. Waiting and Suddenness: the Part in Time8. Repeated Cues9. Repeated cues: from Crowds to Clowns10. Repeated cues: comi-tragic/tragic-comic pathos11. Repeated cues and the battle for the cue-space: iThe Merchant of Venice/i12. Repeated cues and tragedy13. Repeated cues and the cue-space in King Lear14. Repeated cues and post-tragic effects15. Repeated Cues and the Cue-Space in iThe Tempest/iIII: THE ACTOR WITH HIS PART16. History17. Dramatic prosody18. Prosodic Switches: From Actor's Prompt to Absent Presence19. Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence20. Case studies: six romantic heroines and three lonely men
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