Making Shakespeare: From Stage to PageRoutledge, 2004 M07 31 - 204 páginas Making Shakespeare is a lively introduction to the major issues of the stage and print history, whilst also raising questions about what a Shakespeare play actually is. Tiffany Stern reveals how London, the theatre, the actors and the way in which the plays were written and printed all affect the 'Shakespeare' that we now read. Concentrating on the instability and fluidity of Shakespeare's texts, her book discusses what happened to a manuscript between its first composition, its performance on stage and its printing, and identifies traces of the production system in the plays we read. She argues that the versions of Shakespeare that have come down to us have inevitably been formed by the contexts from which they emerged; being shaped by, for example, the way actors received and responded to their lines, the props and music used in the theatre, or the continual revision of plays by the playhouses and printers. Allowing a fuller understanding of the texts we read and perform, Making Shakespeare is the perfect introduction to issues of stage and page. A refreshingly clear, accessible read, this book will allow even those with no expert knowledge to begin to contextualize Shakespeare's plays for themselves, in ways both old and new. |
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... globe has informed this book in numerous ways. Peter Holland has, from the first, been an inspiration; Alan Dessen does not know how important his email, sent to me in Poland, really was – he deserves very special thanks for his ...
... Globe and Blackfriars is discussed in terms of the plays written for those buildings; London life, playhouses, bear- baiting pits, theatrical audiences, theatrical flags and theatrical candles are shown to have impacts on the writing as ...
... Globe in London and the new Blackfriars in Virginia have returned attention to early modern playhouses as buildings: just how did the original places of performance impact on the texts performed in them?5 At the same time, new ...
... Globe theatre on the Bankside could cross the Thames in two ways. There were ferry-boats plying the river, the watermen shouting out their route: 'Westward Ho!' from which the Dekker and Webster play got its name, or 'Eastward Ho!' from ...
... Globe and the Blackfriars theatre usefully shows how place was part of thought, and highlights the question raised by this chapter: how did the playhouses – as places – impact on the works performed in them? If the bridge approach to ...