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List of figures and tables viii
Preface ix
Character 1
Juliet's balcony, Verona 1
Shakespeare's realism? 3
Shakespeare's 'unreal' characters 4
Reading Shakespeare's characters on the page 6
Embodying Shakespeare's characters on stage 7
Doubling on the early modern stage 8
Writing for particular actors 11
Falstaff: character as individual or type? 12
Naming and individuality 12
Characters as individuals or as inter-relationships 14
Character: interior or exterior? 17
Character: where next? 19
Performance 23
Measure for Measure: staging silence 23
'Going back to the text': the challenge of performance 26
Performance interpretations: The Taming of the Shrew 27
Topical performance: the plays in different theatrical contexts 30
Citing performances 32
Using film 33
Using film comparatively: Macbeth 35
Hamlet: 'To be or not to be' 39
Adaptations: Shakespearean enough? 41
Performance: where next? 42
Texts 46
Shakespeare's hand 46
So what did Shakespeare write? 47
Stage to page 48
Quartos and Folio 49
Editing as interpretation 50
The job of the editor: the example of Richard II 53
Stage directions 57
Speech prefixes 60
The job of the editor: the example of King Lear 61
Texts: where next? 65
Language 71
'In a double sense'(Macbeth 5.7.50) 71
Did anyone really talk like that? 72
Playing with language 77
Language of the play / language of the person 79
Prose and verse 81
Linguistic shifts: 1 Henry IV 82
Shakespeare's verse 84
Linguistic variation: A Midsummer Night's Dream 85
Language: where next? 87
Structure 90
Finding the heart of the play 90
Shakespeare's genres: dynamic, not static 93
Tragedy and comedy 94
Tragedy - expanding the genre 95
Comedy - expanding the genre 98
History: is this a fixed genre? 101
Structuring scenes: Much Ado About Nothing 103
Juxtaposing scenes, activating ironies: Henry V 104
Showing v. telling 106
Structure: where next? 107
Sources 113
Antony and Cleopatra and Plutarch 113
Originality: was Shakespeare a plagiarist? 116
Shakespeare at work: the intentional fallacy? 118
The source bites back: Romeo and Juliet and The Winter's Tale 120
The strong poet? King Lear 127
Sources: where next? 131
History 134
Politic picklocks: interpreting topically 134
History plays: political Shakespeare? 136
History plays: Shakespeare as propagandist? 138
Hamlet as history play? 140
Jacobean patronage: King Lear and Macbeth 142
Historical specificity: gender roles 144
Race and Othello 148
History: where next? 153
Bibliography 157
Index 162
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Add The Cambridge Introduction to Shakespeare, This lively and innovative 2007 introduction to Shakespeare promotes active engagement with the plays, rather than recycling factual information. Covering a range of texts, it is divided into seven subject-based chapters: Character; Performance; Texts; La, The Cambridge Introduction to Shakespeare to the inventory that you are selling on WonderClubX
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Add The Cambridge Introduction to Shakespeare, This lively and innovative 2007 introduction to Shakespeare promotes active engagement with the plays, rather than recycling factual information. Covering a range of texts, it is divided into seven subject-based chapters: Character; Performance; Texts; La, The Cambridge Introduction to Shakespeare to your collection on WonderClub |