A Companion to Shakespeare and Performance

Copyright © 2005 by Blackwell Publishing Ltd

A Companion to Shakespeare and Performance

Editor(s): Barbara Hodgdon, W. B. Worthen

Published Online: 26 NOV 2007

Print ISBN: 9781405111041

Online ISBN: 9780470996706

DOI: 10.1002/9780470996706

About this Book

Product Information

About The Product

A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies.


  • Redraws the boundaries of Shakespeare performance studies.

  • Considers performance in a range of media, including in print, in the classroom, in the theatre, in film, on television and video, in multimedia and digital forms.

  • Introduces important terms and contemporary areas of enquiry in Shakespeare and performance.

  • Raises questions about the dynamic interplay between Shakespearean writing and the practices of contemporary performance and performance studies.

  • Written by an international group of major scholars, teachers, and professional theatre makers.

Table of contents

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      Frontmatter (pages i–xvi)

    1. Introduction: A Kind of History (pages 1–9)

      Barbara Hodgdon

  3. Part I: Overviews: Terms of Performance

    1. Chapter 1

      Reconstructing Love: King Lear and Theatre Architecture (pages 11–35)

      Peggy Phelan

    2. Chapter 2

      Shakespeare's Two Bodies (pages 36–56)

      Peter Holland

    3. Chapter 3

      Ragging Twelfth Night: 1602, 1996, 2002–3 (pages 57–78)

      Bruce R. Smith

    4. Chapter 4

      On Location (pages 79–100)

      Robert Shaughnessy

    5. Chapter 5

      Where Is Hamlet? Text, Performance, and Adaptation (pages 101–120)

      Margaret Jane Kidnie

    6. Chapter 6

      Shakespeare and the Possibilities of Postcolonial Performance (pages 121–137)

      Ania Loomba

  4. Part II: Materialities: Writing and Performance

    1. Chapter 7

      The Imaginary Text, or the Curse of the Folio (pages 139–161)

      Anthony B. Dawson

    2. Chapter 8

      Shakespearean Screen/Play (pages 162–178)

      Laurie E. Osborne

    3. Chapter 9

      What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet (pages 179–196)

      Simon Palfrey and Tiffany Stern

    4. Chapter 10

      Editors in Love? Performing Desire in Romeo and Juliet (pages 197–211)

      Wendy Wall

    5. Chapter 11

      Prefixing the Author: Print, Plays, and Performance (pages 212–230)

      W. B. Worthen

  5. Part III: Histories

    1. Chapter 12

      Shakespeare the Victorian (pages 231–248)

      Richard W. Schoch

    2. Chapter 13

      Shakespeare Goes Slumming: Harlem ‘37 and Birmingham ‘97 (pages 249–266)

      Kathleen McLuskie

    3. Chapter 14

      Stanislavski, Othello, and the Motives of Eloquence (pages 267–284)

      John Gillies

    4. Chapter 15

      Shakespeare, Henry VI and the Festival of Britain (pages 285–296)

      Stuart Hampton-Reeves

    5. Chapter 16

      Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival (pages 297–318)

      Ric Knowles

    6. Chapter 17

      Performance as Deflection (pages 319–334)

      Miriam Gilbert

    7. Chapter 18

      Maverick Shakespeare (pages 335–358)

      Carol Chillington Rutter

    8. Chapter 19

      Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing (pages 359–375)

      Paul Prescott

    9. Chapter 20

      Performing History: Henry IV, Money, and the Fashion of the Times (pages 376–396)

      Diana E. Henderson

  6. Part IV: Performance Technologies, Cultural Technologies

    1. Chapter 21

      “Are We Being Theatrical Yet?”: Actors, Editors, and the Possibilities of Dialogue (pages 397–414)

      Michael Cordner

    2. Chapter 22

      Shakespeare on the Record (pages 415–436)

      Douglas Lanier

    3. Chapter 23

      SShockspeare: (Nazi) Shakespeare Goes Heil-lywood (pages 437–456)

      Richard Burt

    4. Chapter 24

      Game Space/Tragic Space: Julie Taymor's Titus (pages 457–477)

      Peter S. Donaldson

    5. Chapter 25

      Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture (pages 478–493)

      Elizabeth A. Deitchman

    6. Chapter 26

      Shakespeare on Vacation (pages 494–508)

      Susan Bennett

  7. Part V: Identities of Performance

    1. Chapter 27

      Visions of Color: Spectacle, Spectators, and the Performance of Race (pages 509–526)

      Margo Hendricks

    2. Chapter 28

      Shakespeare and the Fiction of the Intercultural (pages 527–549)

      Yong Li Lan

    3. Chapter 29

      Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe (pages 550–563)

      G. B. Shand

    4. Chapter 30

      Queering the Audience: All-Male Casts in Recent Productions of Shakespeare (pages 564–587)

      James C. Bulman

    5. Chapter 31

      A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland (pages 588–609)

      Courtney Lehmann

    6. Chapter 32

      Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions (pages 610–624)

      Joanne Tompkins

  8. Part VI: Performing Pedagogies

    1. Chapter 33

      Teaching Through Performance (pages 625–643)

      James N. Loehlin

    2. Chapter 34

      “The eye of man hath not heard, / The ear of man hath not seen”: Teaching Tools for Speaking Shakespeare (pages 644–658)

      Peter Lichtenfels

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      Index (pages 659–688)

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