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Originally published as: Shakespeare: his work and his world / illustrated by Robert Ingpen. 2001.
Paper Edition. This book discusses fifteen plays, addressing Shakespeare's experimentation, the power and intelligence of his inconsistencies, his novel "happy" endings, and ultimately, how each comedy can be performed.
That Shakespeare thematized time thoroughly, almost obsessively, in his plays is well established: time is, among other things, a 'devourer' (Love's Labour's Lost), one who can untie knots (Twelfth Night), or, perhaps most famously, simply ‘out of joint’ (Hamlet). Yet most critical commentary on time and Shakespeare tends to incorporate little focus on time as an essential - if elusive - element of stage praxis. This book aims to fill that gap; Wagner's focus is specifically performative, asking after time as a stage phenomenon rather than a literary theme or poetic metaphor. His primary approach is phenomenological, as the book aims to describe how time operates on Shakespearean stages. Through philosophical, historiographical, dramaturgical, and performative perspectives, Wagner examines the ways in which theatrical activity generates a manifest presence of time, and he demonstrates Shakespeare’s acute awareness and manipulation of this phenomenon. Underpinning these investigations is the argument that theatrical time, and especially Shakespearean time, is rooted in temporal conflict and ‘thickness’ (the heightened sense of the present moment bearing the weight of both the past and the future). Throughout the book, Wagner traces the ways in which time transcends thematic and metaphorical functions, and forms an essential part of Shakespearean stage praxis.
An account of Shakespeare's plays as they were transformed from scripts into books.
Showing how overlooked publication agents constructed and read early modern history plays, this book fundamentally re-evaluates the genre.
From the New York Times bestselling author of The Midnight Library. “A quirky romcom dusted with philosophical observations….A delightfully witty…poignant novel.” —The Washington Post “She smiled a soft, troubled smile and I felt the whole world slipping away, and I wanted to slip with it, to go wherever she was going… I had existed whole years without her, but that was all it had been. An existence. A book with no words.” Tom Hazard has just moved back to London, his old home, to settle down and become a high school history teacher. And on his first day at school, he meets a captivating French teacher at his school who seems fascinated by him. But Tom has a dangerous secret. He may look like an ordinary 41-year-old, but owing to a rare condition, he's been alive for centuries. Tom has lived history--performing with Shakespeare, exploring the high seas with Captain Cook, and sharing cocktails with Fitzgerald. Now, he just wants an ordinary life. Unfortunately for Tom, the Albatross Society, the secretive group which protects people like Tom, has one rule: Never fall in love. As painful memories of his past and the erratic behavior of the Society's watchful leader threaten to derail his new life and romance, the one thing he can't have just happens to be the one thing that might save him. Tom will have to decide once and for all whether to remain stuck in the past, or finally begin living in the present. How to Stop Time tells a love story across the ages—and for the ages—about a man lost in time, the woman who could save him, and the lifetimes it can take to learn how to live. It is a bighearted, wildly original novel about losing and finding yourself, the inevitability of change, and how with enough time to learn, we just might find happiness. Soon to be a major motion picture starring Benedict Cumberbatch.
In 1612 Shakespeare gave evidence at the Court of Requests in Westminster – it is the only occasion his spoken words are recorded. The case seems routine – a dispute over an unpaid marriage-dowry – but it opens up an unexpected window into the dramatist’s famously obscure life-story. Charles Nicholl applies a powerful biographical magnifying glass to this fascinating episode in Shakespeare’s life. Marshalling evidence from a wide variety of sources, including previously unknown documentary material on the Mountjoys, he conjures up a detailed and compelling description of the circumstances in which Shakespeare lived and worked, and in which he wrote such plays as Othello, Measure for Measure and King Lear.
(Book). Shakespeare was a man of the theatre to his core, so it is no surprise that he repeatedly contemplated the nuts and bolts of his craft in his plays and poems. Shakespeare scholar Nick de Somogyi here draws together all the cherishable set pieces including "All the world's a stage," Hamlet's encounters with the Players, and Bottom's amateur theatricals along with many other oblique but no less revealing glances, and further insights into theatre practice by Shakespeare's contemporaries and rivals. De Somogyi's commentary takes us through the entire process of Shakespeare's theatrical production, from its casting and auditions, via rehearsals, costumes, and props, to its premiere and audience reception. Shakespeare on Theatre eavesdrops on the urgently whispered noises-off in the "tiring-house" and inhales the heady aroma of the Globe's first audiences.