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The subject of stage directions in 'Hamlet', those brief semiotic codes that are embellished by historical, theatrical, and cultural considerations, produces a rigorous examination in the fifteen essays contained in this collection. This volume encompasses essays that are guardedly inductive in their critical approaches, as well as those that critique modern productions that attempt to achieve Shakespearean effect through a modern aesthetic. The volume also includes essays that enunciate the production of stage business as a cultural interplay between productions and social agencies outside the theater.
What do 'stage directions' do in early modern drama? Who or what are they directing: action on the stage, or imagination via the page? Is the label 'stage direction' helpful or misleading? Do these 'directions' provide evidence of Renaissance playhouse practice? What happens when we put them at the centre of literary close readings of early modern plays? Stage Directions and Shakespearean Theatre investigates these problems through innovative research by a range of international experts. This collection of essays examines the creative possibilities of stage directions and and their implications for actors and audiences, readers and editors, historians and contemporary critics. Looking at the different ways stage directions make meaning, this volume provides new insights into a range of Renaissance plays.
What do 'stage directions' do in early modern drama? Who or what are they directing: action on the stage, or imagination via the page? Is the label 'stage direction' helpful or misleading? Do these 'directions' provide evidence of Renaissance playhouse practice? What happens when we put them at the centre of literary close readings of early modern plays? Stage Directions and Shakespearean Theatre investigates these problems through innovative research by a range of international experts. This collection of essays examines the creative possibilities of stage directions and and their implications for actors and audiences, readers and editors, historians and contemporary critics. Looking at the different ways stage directions make meaning, this volume provides new insights into a range of Renaissance plays.
The Stage Directions Guide to Shakespeare offers sane, sensible advice on reasons to do (or not to do) Shakespeare, assessing your theatre group abilities, selecting a play, casting, making costume and set decisions, the special demands of directing and playing Shakespeare and publicity.
"England, 1605: A terrorist plot to assassinate King James I and blow Parliament to kingdom come with 36 barrels of devilish gunpowder! Shagspeare (after a contemporary spelling of the Bard's name) is commissioned by Robert Cecil, the prime minister, to write the "true historie" of the plot. And it must have witches! The King wants witches! But as Shag and the acting company of the Globe, under the direction of the great Richard Burbage, investigate the plot, they discover that the King's version of the story might, in fact, be a cover-up. Shag and his actors are confronted with the ultimate moral and artistic dilemma. Speak truth to power-and perhaps lose their heads? Or take the money and lie? Is there a third option-equivocation? A high-stakes political thriller with contemporary resonances, EQUIVOCATION gallops from the great Globe to the Tower of London to the halls of Parliament to the heart of Judith, Shag's younger daughter, who finds herself unexpectedly at the very heart of the political, dramatic and-ultimately-human mystery." - from publisher's website.
The Shakespearean Stage Space explores the original staging of plays by Shakespeare and his contemporaries in Renaissance playhouses.
This volume offers a lively introduction to the major issues of the stage and print history of the plays, and discusses what a Shakespeare play actually is.
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.