SECTION XI: BIBLIOGRAPHY: SHAKESPEARE AND PERFORMANCE compiled by the members of the Folger Shakepeare Institute Shakespeare Bibliography compiled 4-93 updated 5-8-93 Alexander, Mathias. The Resurrection of the Self. The original book by Alexander. Rather opaque and inaccessible. (Refers to a [perhaps more helpful?] book entitled The Alexander Technique, which explains his method. See Barlow.) --Mary Corrigan Anderson, Virgil. Training the Speaking Voice. Oxford: Oxford UP. An excellent common-sense approach to voice production. The book presents uncomplicated solutions to common speech problems.--Mary Corrigan Aston, Elaine, and George Savona. Theatre as Sign-System: A Semiotics of Text and Performance. London: Routledge, 1991. The authors set out to provide a more accessible alternative to Keir Elam, and they have succeeded. Their book is both high-powered and readable, and could certainly be recommended to undergraduates. It takes accounts of a wide range of approaches, from the Prague School onward, and draws its examples from a relatively small group of plays so as not to confuse the reader with too many variables. --Lois Potter Barlow, Wilfred. The Alexander Technique. A book devoted to an explanation of the Alexander Method. --Mary Corrigan Barton, John. Playing Shakespeare. An excellent book. Very heuristic. His approach to Shakespeare's text has informed and influenced countless actors, directors, voice and speech teachers. His work helped to make the plays extremely accessible to the actor/director. Useful to accompany the BBC Videotapes of the Shakespeare plays. This book is essentially the written narrative of those tapes. --Mary Corrigan The transcripts of the BBC master class series, most useful when the tapes can be seen to clarify points that might be a bit confusing or difficult to understand in the written text. At last inquiry this book was out of print. Berger, Harry. Imaginary Audition. Probably a given on this type of list. --Stephen M. Buhler ...has given me valuable insights into ways of [teaching] a course in which the performance of passages or short scenes complemented textual analysis. --Geri Jacobs --also recommended by Kate Pogue Berkoff, Steven. I Am Hamlet. N.Y.: Grove Weidenfeld, 1989. A British actor, director and playwright, Berkoff provides here a production diary of a ten-person production of Hamlet (he played Hamlet and directed) which toured Europe in 1979-81. Rather than a chronological account, the book is an extended commentary following the structure of Hamlet, with his observations on the play and the production, his interpretations and meditations, interspersed between quoted lines of dialogue and scene summaries. --Michael Shea Berry, Cecily. Voice and the Theater. Applause Books. One of my favorite books. An excellent introduction to concepts of breathing and general voice production. An excellent no-nonsense very physical approach to text work. --Mary Corrigan Berry, Cecily. The Actor and The Text. Applause Books. Another of my favorite books. Enormously innovative and helpful to the individual actor in the exploration of text. --Mary Corrigan Berry, Francis. The Shakespeare Inset: Word and Picture. London: Routledge, 1965. On staging moments in the text. --David Sauer Berry, Ralph. Changing Styles in Shakespeare. London: George Allen and Unwin, 1981. Survey of recent productions: Coriolanus, Measure, Troilus, Henry V, Hamlet, Twelfth Night. --David Sauer Berry, Ralph. On Directing Shakespeare: Interviews with Contemporary Directors. NY: Barnes and Noble, 1977. On directing: interviews with Miller, Nunn, Kahn, Phillips, Strehler, Brook, Swinarski. --David Sauer Bevington, David. Action is Eloquence: Shakespeare's Language of Gesture. Cambridge: Harvard UP, 1984. On staging moments in the text. --David Sauer Booth, Stephen. Shakespeare's Sonnets. Yale UP. Enormously helpful book regarding the sonnets. --Mary Corrigan Brennan, Anthony. Shakespeare's Dramatic Structures. Routledge. An attractively written book which analyzes the dramatic movement of specific scenes and scenic patterns. --Lois Potter Brockbank, Philip, ed. Players of Shakespeare: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company. Cambridge: Cambridge UP, 1985. Actors' views of working up roles, e.g P. Stewart on Antonio, Sinead Cusick on Portia, Donald Sinden on Malvolio, etc. --David Sauer Sinden's piece on playing Malvolio (written from inside Malvolio's mind, as it were) is a classic of its kind. --Lois Potter Brook, Peter. The Empty Space. NY: Atheneum, 1968. Divides approaches to directing into four kinds of theatre: Deadly, Holy, Rough, and Immediate. Preaches an existential approach in which each moment is acted for itself, rather than deduced backwards from some prior reading/interpretation of the play. --David Sauer Brown, John Russell. "The Politics of Shakespeare Production." Shakespeare Survey #44: 91-104. In this overview of theater companies and festivals, Brown analyzes their difficulties in trying to promote Shakespearean productions. Focusing mostly on the United States and Britain, Brown identifies many problems besetting theater companies--private vs. public funding, governmental bureaucracies, internal hierarchies, etc. Many of his solutions call for more interplay between academics and theater professionals to help keep alive imaginative productions of Shakespeare. --Michael Shea Brown, John Russell. Shakespeare's Plays in Performance. London: Edward Arnold, 1966. On productions. --David Sauer Brubaker, E. S. Shakespeare Aloud. Lancaster, PA: Brubaker, 1976. This little self-published oddity is hard to find (I buy mine through Applause Theater Books, NY) but absolutely invaluable as a guide to verse speaking for the beginner. It is very brief (and inexpensive), aiming at simple, "most-of-the-time" rules about verse speaking. Certainly not as detailed as Berry or Linklater, it is just right for my young undergraduates who need the basics before they get into the esoteric fine points. --Kurt Daw A book that evolved from the early days of the Oregon Shakespeare Festival. Very helpful basic book. Helpful information regarding approach to playing Shakespeare as well as helpful regarding scansion and Shakespeare pronunciation. --Mary Corrigan Buchman, Lorne. Still in Movement: Shakespeare on Screen. New York: Oxford UP, 1991. This book provides both extended illustrations of film concepts working (e.g. mise-en-scene and close-up) and critical analyses of films: Peter Brook's and Grigory Kozintsev's King Lear and Welles' Othello. Illustrated with movie stills. --Ann Christensen Bulman, J.C. and H.R. Coursen, eds. Shakespeare on Television: An Anthology of Essays and Reviews. Hanover, NH: UP of New England, 1988. Views of tv Shakespeare, especially BBC-Time Life series. --D. Kranz For quick reviews of major video productions. --Garry Walton Case, Sue-Ellen, ed. Performing Feminisms: Feminist Critical Theory and Theater. Baltimore: Johns Hopkins UP, 1990. This book includes a section on feminist Shakespeare production. --Michael Shea Coghill, Nevill. Shakespeare's Professional Skills. Cambridge: Cambridge UP, 1965. On staging moments in the text: visual meaning, unification, juxtaposition of scenes, soliloquies, etc. --David Sauer Cohen, Robert. Acting in Shakespeare. Mayfield, 1991. This is an admirable book. Although it does what its title says--takes a young actor step by step through a course in acting Shakespeare--it is also more than that. With a very light touch, Cohen (a professor at U.Cal. Irvine) incorporates information about Shakespeare's life, vocabulary, scansion, rhetoric, etc., and takes his hypothetical student from a two-word opener ("Peace, Kent!") to some of the great speeches and "epiphanies". What delighted me about it was that it was fun, and even exciting, just to read through it, without doing the exercises myself. I wonder if it would be possible to use it as the textbook for a course on Shakespeare, which might be more honest than what I shall probably end up doing--sneaking a few ideas from it into my literature classes. --Lois Potter Collick, John. Shakespeare, Cinema and Society. Manchester UP/St. Martin's, 1989. Thesis: "The production of Shakespearean cinema is inextricably linked to the appropriation of his plays by a specific class within a precise historical and social moment" (188). This book is written in opposition to ahistorical, text-centered approaches typical in Shakespeare film studies (Jorgens and Manvell are specifically named). The 4 sections focus on British silent film; the 1935 Warner Bros. production of Reinhardt's MND and its descendants (Welles' Othello and Jarman's Tempest); Kozintsev's Hamlet and Lear; and Kurosawa's Kumonosu jo and Ran. --Garry Walton Cook, Judith. Directors' Theatre. London: Harrap, 1974. Quotes and material from directors including Barton, Brook, Dexter, Eyre, Garland, Hall, Littlewood, Miller, Nunn, Phillips, Williams. No Index. --David Sauer Coursen, Herbert R. Shakespearean Performance as Interpretation. Newark: U. of Delaware P., 1992. Coursen begins his argument in opposition to three rather familiar opponents: Levin's notion of dramatist's intention and audience consensus, Berger's assertion of the primacy of (reading) the text, and contemporary directors' slavery to the "production concept." He bases much of his own analysis on video productions, which (unlike staged performances Berger wants to decelerate) a viewer IS able to "rewind, re-watch, and re-view."--Garry Walton Coursen, Herbert R. Shakespearean Performance as Interpretation, cont. Coursen's thesis is: "A Shakespearean script exists only in performance. Period." In support of his thesis, he counters both text- bound criticism and instances of "director's theater" which lack foundation in the Shakespearean script. The book is mostly a collection of his reviews of both stage and film (including tv and video) productions. The most useful (for our purposes) chapter is "A Space for Shakespeare" in which Coursen presents strong but not rigid ideas about how Shakespeare is accommodated to tv and film. --Ann Christensen Crowl, Samuel. Shakespeare Observed: Studies in Performance on Stage and Screen. Athens: Ohio UP, 1992. A collection of film and theatre reviews, following a useful first chapter that surveys the terrain in Shakespeare film studies since Jorgens (including some perceptive remarks on Collick and on Berger's performance vs. criticism approach). Films reviewed include Polanski's Macbeth, Welles' Chimes at Midnight and Othello, MND by Reinhardt and Hall, Bogdanov's War of the Roses, and Branagh's Henry 5. Featured stage productions are Hall's Hamlet (1976) and Antony and Cleopatra (1987) at the National, Daniels' RSC Romeo & Juliet (1980), and Noble's RSC Lear (1982) and As You Like It. This book is most useful for its efforts to link prominent recent productions in the theatre and on film. --Garry Walton This annotation is a summary of an advertising blurb: Focuses on intertextual negotiations between various stage and screen productions of Shakespeare in the last thirty years and between performance and literary theorists, cultural historians, and critics. --later submission by Garry Walton Danson, Laurence, ed. On King Lear. Princeton: Princeton UP, 1981. A collection of essays, mostly by Princeton faculty, in language undergraduates can understand. I have found this a good resource for introducing students to criticism -- each student summarizes and critiques one of the eight articles. Included are Goldman on acting the part of Lear, McFarland on family relations, Seltzer on the play in the theatre, others by Danson, Roche, Kernan. --Garry Walton David, Richard. Shakespeare in the Theatre. Cambridge: Cambridge UP, 1978. The Shakespeare Survey reviewer looks back on approaches and key productions. Useful index for key moments in productions. --David Sauer Dessen, Alan C. Elizabethan Drama and the Viewer's Eye. Chapel Hill, NC: U. of NC P., 1977. --David Sauer Dessen, Alan C. Elizabethan Stage Conventions and Modern Interpretation. Cambridge: Cambridge UP, 1984. On staging moments in the original texts such as stage directions, lighting, concepts of place, clues in the original playscripts for performance. --David Sauer Dollimore, Jonathan and Alan Sinfield, eds. Political Shakespeare: New Essays in Cultural Materialism. Ithaca: Cornell UP, 1985. Sinfield's three essays all argue for Shakespeare's texts, especially in the classroom and in the theater, as a site for oppositional politics. --Michael Shea Donaldson, Peter S. Shakespearean Films/Shakespearean Directors. Boston: Unwin Hyman, 1990. Critical readings, informed by psychoanalytic and post-structural theory, of Olivier's HV and Hamlet, Kurosawa's Throne of Blood, the Welles and L. White Othello, Zeffirelli's R and J, and Godard's King Lear. --D. Kranz Critical essays addressing: Olivier's Henry V and Hamlet, Throne of Blood, Orson Welles' and Liz White's Othello, Zeffirelli's Romeo and Juliet, and Godard's King Lear. Donaldson uses film theory, gender studies, and psychoanalysis and provides useful biographical information about the directors. Eckert, Charles W., ed. Focus on Shakespearean Films. Englewood Cliffs, NJ: Prentice-Hall. Essays, interviews, and reviews covering filmic versions of Shakespeare's MSND, HV, Hamlet, Macbeth, Othello, JC, R and J, Richard III, and The Taming of the Shrew, all from the 1940's to 60's, as well as an essay on Welles's Chimes at Midnight. --D. Kranz Esslin, Martin. The Field of Drama. London: Methuen, 1987. Having found most writing about semiotics virtually impenetrable, I was overjoyed to find this clear and helpful explanation of the field. Esslin's clarity comes not from simplification, but from eschewing jargon. The prose is precise. The result is a kind of expanded "Pavis" questionnaire. --Kurt Daw Frye, Northrop. "The Argument of Comedy." English Institute Essays. D. A. Robertson, Jr., ed. NY: Routledge, 1989. An old but still good intro to the systematizing Frye is noted for. Better than his Shakespeare Survey article on "Old and New Comedy" because it is more immediately focused on Shakespeare than on Plautus and Menander. But it still introduces useful concepts (senex, green world) that underlie so much of 20th century commentary on the comedies (Barber et al.). --Garry Walton Goldman, Michael. "Hamlet: Entering the Text." Theatre Journal 44 (Dec. 1992): 449-60. As is usual with Goldman, this is both thoughtful and accessible. It grapples with what seems to me a crucial question, what he calls "the general form of all questions in literary criticism: How does a person relate to a text?" Like Ingarden he is trying to define or locate "the literary work of art." His strategy is to take drama as the model rather than poems or stories. His answer is that "script and performance [are] mutually constitutive...[and] taken together they constitute what we call the play.... I suggest we entertain the idea of a relation between text and reader that is more like the relation between actor and script." By "acting" or "performance" he particularly means the ways that a performance "fleshes out" or "embodies" more than can be scripted. This live-ness of theatre he refers to as "improvisation," about which he asserts: "every play -- and every moment in a play -- may be said to contain elements of 'scriptedness' and of 'improvisation.'...the script must be played as if it were an improvisation and the improvisation must play as if it belonged to the script." He arrives at this theoretical insight via an extended meditation on Hamlet as a play whose characters are particularly concerned with scripting/plotting and with improvising. I don't know what Goldman will be doing with us in April, but I hope it's related to what he's doing in this article. If other folks can get hold of this one and read it in the next few weeks, I would welcome a conversation about it. --Garry Walton Gooch, Brian N.S., and David Thatcher, eds. Shakespeare's Music Catalogue. 5 vols. NY: Oxford UP, 1990. (A documentation of all published and unpublished music relating to Shakespeare's life and work, from the sixteenth century to the present, with a worldwide scope of coverage. Incredible and indispensable.) Gurr, Andrew. Playgoing in Shakespeare's London. New York: Cambridge UP, 1987. This wonderful scholar provides a storehouse of information about everything from the design of the amphitheaters and halls to the "social composition" of audiences and actors, and a lengthy history of stage styles and vogues from 1567-1642. (illustrated) ---. The Shakespearean Stage: 1574-1642. (3rd ed.) This revised edition of the 1979 2nd edition reflects the recent archeological study of the Rose. --Ann Christensen Hayman, Ronald. How To Read a Play. London: Methuen, 1989. Hayman urges that each reading be treated as a performance in one's mind. Though much of this very short book is devoted to summaries of scenes and quoted dialogue to illustrate what Hayman finds inadequate about reading a play (perhaps it should be called Why Not to Read a Play), the main claims from each of his ten chapters are summarized very briefly at the end of the book. Starting there, one could then read the relevant chapters for detail supporting the claims one finds interesting. --Michael Shea Holderness, Graham and Bryan Loughery, eds. A Pleasant Conceited Historie, Called the Taming of a Shrew. Barnes & Noble, 1992. This is a reproduction of the 1594 play that the editors say is necessary to know in order to appreciate fully the Shakespeare play, which first appeared in the First Folio in 1623. --Michael Shea Holderness, Graham and Bryan Loughery, eds. The Tragicall Historie of Hamlet Prince of Denmarke. Barnes & Noble, 1992. An edition of the First Quarto, the so-called "bad Quarto," this text replicates the first published version of the play called Hamlet, a fact which these editors contend is enough to call into question the accuracy of the other versions of Hamlet that we have. --Michael Shea Hornby, Richard. Script Into Performance. London: U of TX Press, 1977. Though applicable to Shakespeare, this text is about the general problems of script analysis for performance. Of all the books on my shelf, this is the one I most often actually use. It very cogently argues for the techniques of structuralism as a way of negotiating the tricky realm of producing pre-modern theater. Despite its age, it has held up very well. It addresses many of the problems we encountered in our first session. For example, Hornby discusses a playscript's ability to sustain multiple interpretations, while recognizing that some readings are simply "wrong." He offers insight into how one may defensibly tell the difference between a valid interpretation and an errant one. --Kurt Daw Howard, Jean E. & Marion F. O'Connor. Shakespeare Reproduced. NY: Methuen, 1987. Both the editors' "Introduction" and Margaret Ferguson's "Afterward" address pedagogical issues and the ramifications in the classroom of applying literary theory to the reading of Shakespeare. --Michael Shea Hunt, Chris. A History of Hamlet. (video) Produced and directed by Chris Hunt, London Weekend Television, The New South Bank Show, 1989. This video tape is less a history than a debate about different interpretations of the character and the play. The pretext for the documentary was a season in which three different productions of Hamlet could be seen in or near London, and the diverse views of the directors of those productions--Richard Eyre, Ron Daniels, and Yuri Lyubimov--form about half of the program. There are film clips of interviews with other directors, including John Barton, Tyrone Guthrie, Orson Welles, and Charles Marowitz. Interspersed throughout are clips, short and long, of performances from various productions and films. The actors include: Laurence Olivier, John Gielgud, Richard Burton, Derek Jacobi, Asta Nielsen, Sarah Bernhardt, Johnton Forbes Robertson, Innokenti Smoktunovsky, John Barrymore, Mark Rylance, and Jonathan Pryce. --Sally Banes Jackson, Russell and Robert Smallwood, eds. Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company . Cambridge: Cambridge UP, 1988. Actors' views. Essays, eg by Branagh on Henry V, Sher on Fool, Kingsley on Othello, Suchet on Iago. --David Sauer Jones, Emrys. Scenic Form in Shakespeare. Oxford University Press. This is a pioneering study of the way a scene creates a shape in our minds. His later Origins of Shakespeare looks at echoes of earlier plays in Shakespeare, not in the language, but in the scenic structure. --Lois Potter Jorgens, Jack J. Shakespeare on Film. Bloomington, Indiana: Indiana UP, 1977. Essays on all the famous Shakespeare films up to the early 1970's. --D. Kranz Joseph, Bertram. Acting Shakespeare. Theatre Arts Books. Highly recommended. Enormously helpful book for actors, directors, teachers. Strong emphasis on rhetorical aspects of Shakespeare's language; alliteration, assonance, onomotopeia, etc. --Mary Corrigan Kastan, David Scott and Peter Stallybrass, eds. Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama. NY: Routledge, 1991. This smart anthology is offered as an updated classic to replace the largely New Critical tomes Elizabethan Drama (R.J. Kaufmann, 1961) and Shakespeare's Contemporaries (Max Bluestone and Norman Rabkin, 1962), and to reflect the kind of historicist, materialist, and feminist work being done in Renaissance studies in the 1980s. It is divided into two parts: "The Conditions of Playing" (10 essays) and "The Plays" (24 essays). The first part is more theoretically driven than the second, which presents literary critical essays on mostly canonical plays (plenty on Jonson, Marlowe, and Middleton, but also Ferguson's essay on The Tragedy of Mariam). Part one contains some of the key statements (excerpted from other sources) of the new historicism (or cultural poetics), including Mullaney's "The Place of the Stage," Tennenhouse's "Playing and Power," Orgel's "What is a text?". Two feminist essays balance out the big boy emphasis on Power--one a discussion of the connections among "Boy Actors, Female Roles and Elizabethan Eroticism" by Lisa Jardine, and the other, "Women as Spectators, Spectacles, and Paying Customers" by Jean Howard. Part two covers topics from commodification and consumption to "Indians and Others" and "Incest and Ideology," and includes contributions from Greenblatt, Dollimore, Newman, Stallybrass, Garber, and Leah Marcus. Its main use-value for us, I think, lies in its historizing of the stage, and the material and social and cultural conditions of production. --Ann Christensen Kliman, Bernice. Hamlet: Film, Television, and Audio Performance. Rutherford, NJ: Fairleigh Dickinson UP, 1988. (Part 1: relationship between page, stage, and screen. Part 2: Hamlet tv and film productions, 1953-1984. Part 3: treatment of Hamlet in silent films and recordings. Many photos, 6 appendices.) Kuhn, Maura Slattery. " 'Much Virtue in If.'" Shakespeare Quarterly #28, 1977, pp 40-50. --recommended by Michael Shea Kuhn focuses on the final scene of AYLI as a place where a real performance consideration--Rosalind's need to unlace her doublet and hose--impinges directly on our interpretation of the play. A fine piece of literary criticism informed by stage experience. --Michael Shea Lessac, Arthur. Body Wisdom. Series of physical exercises which can help to free the actor. --Mary Corrigan Lessac, Arthur. The Use and Training of the Human Voice. Drama Books. Lessac was a pioneer of voice production in this country. Anyone with a musical background appreciates his terminology of musical instruments in relationship to aspects of voice production. --Mary Corrigan Linklater, Kristen. Freeing the Natural Voice. Drama Books. Introduction to basic breathing and relaxation principles. This book lends itself readily to taping of the various freeing exercises. --Mary Corrigan On Freeing the Natural Voice, additional annotation: Prior to the Cecily Berry books, the most exciting and valuable approach to vocal technique for actors. --Kate Pogue Linklater, Kristen. Freeing Shakespeare's Voice. Theatre Communication Books. A recently published innovative book that can be helpful for students/actors who wish to explore the shape of sound in relationship to the text. --Mary Corrigan Literature and Film Quarterly. Journal. Essays on the famous Shakespearean films, especially the foreign versions, made from the late 1960's to the mid-80's. Some essays on tv Shakespeare as well. --recommended by D. Kranz Lusardi, James and Schlueter, June. Reading Shakespeare in Performance: King Lear. --unread, but submitted by Garry Walton Machlin, Evangeline. Speech for the Stage. Theatre Arts Books. Has some excellent warm-up exercises. Common-sense approach to the voice. She also has a helpful book on stage dialect tapes.--Mary Corrigan Mallick, David. How Tall is This Ghost, John?. Adelaide: Australian Association for the Teaching of English, 1984. Operating from the premises that students' close scrutiny of the Shakespearean text emerges from practical performance work and that "our earliest critical ideas are best tested in group and class discussion," Mallick offers the insecure literature teacher many ways for using acting in the classroom. Divided into three parts (what gall!), the book moves from a general discussion of subtext, through applications of these ideas to several sequences, and ends with a section of questions and exercises for all of Lady Macbeth's scenes. Though written for secondary school teachers, almost all of the book is relevant to the college classroom. --Michael Shea Maher, Mary Z. Modern Hamlets and Their Soliloquies. Summary of an advertising blurb: On the ways that text and actor together create the "personality" of Hamlet. Selections from her interviews of actors David Warner, Ben Kingsley, Derek Jacobi, Anton Lesser, David Rintoul, Randall Duk Kim, and Kevin Kline, accompanied by analyses of their performances. --Garry Walton Manvell, Roger. Theater and Film. Rutherford, NJ: Fairleigh Dickinson UP, 1979. Essays on the adaptation of stage plays to film, with about 70 pages on the famous Shakespearean films up to the early 1970's. --D. Kranz McGuire, Philip C. Speechless Dialect: Shakespeare's Open Silences. Berkeley: U of CA Press, 1985. The crucial term in McGuire's title is open: he persuasively argues that Shakespearean texts--especially at crucial moments when a character's response is not verbally specified--not only allow for a range of interpretive choices, but work against narrowing that range. His sensitivity to text (and textual issues) and the wealth of his theatrical experiences of Shakespeare make his call for openness in interpretation compelling. If I have any reservations, it's about the real applicability of the terms he draws from quantum physics-- specifically superposition and complementarity--to articulate his "Different Paradigm" for Shakespeare and criticism. --Stephen M. Buhler McGuire, Philip C. and David Samuelson, eds. Shakespeare: The Theatrical Dimension. NY: AMS Press, 1979. Key collection of essays on staging moments in the text. --David Sauer McMillin, Scott. Henry IV, part one: Shakespeare in Performance. Manchester: Manchester UP, 1991. McMillin's contribution to the Shakespeare in Performance series deftly combines stage history with ideological concerns and cultural criticism issues. He places the development of the now-standard interpretation of the play as focusing on Prince Hal in the context of a scholarly "discovery" of Shakespeare's plays as participating in history cycles. The movement from exclusive emphasis on Hotspur and/or Falstaff, while it may have been prompted by a somewhat patriotic interest in establishing Shakespeare as an "architectonic" master, made it possible for the character of Hal--and for his politics--to be problematized. --Stephen M. Buhler Miller, Jonathan. Subsequent Performances. NY: Viking, 1986. An investigation of the problems of performance of works out of their original contexts and time periods, this book deals extensively with Miller's productions of Shakespeare. Though not meant as prescriptive, the book has a huge amount of practical advice for the director which I return to again and again. --Kurt Daw Miller, Jonathan. Subsequent Performances, cont. An inspiring book by one of the most exciting directors working today in theatre and opera. Particularly interesting in his discussion of changing periods in producing classic plays. --Kate Pogue Mortimer, John. Will Shakespeare. London: Hodder and Stoughton, 1977. More helpful to me than the more factual accounts of Peter Levi or Russell Fraser or Sam Schoenbaum at giving a feel (romanticized to be sure) of the rough and tumble life in the theatre world of London 1600. Mortimer (of "Rumpole" fame) makes the whole corpus autobiographical, not just Southampton and the sonnets but Hamnet/Hamlet/Puck too. But Kit Marlowe and young boys playing young women on stage come to life in this tale. Has been made into a British tv miniseries starring Tim Curry. --Garry Walton Onions, C.T. Shakespeare Glossary. --Mary Corrigan Oxford English Dictionary. --Mary Corrigan Parker, Barry. The Folger Shakespeare Filmography. Washington, D.C.: Folger Books, 1979. Listing of films of plays, adaptations, dance/music versions, and instructional versions. --David Sauer Parker, Patricia and Geoffrey Hartman, eds. Shakespeare and the Question of Theory. NY: Routledge, 1985. --recommended by Michael Shea Partridge. Shakespeare's Bawdy. Not an essential book but a bit of an eye-opener for students. --Mary Corrigan Postlethwait, Thomas and Bruce A. McConachie, eds. Interpreting the Theatrical Past: Essays in the Historiography of Performance. Iowa City: U of Iowa Press, 1989. This includes some very useful essays. For our purposes, the most interesting are probably R.W. Vince's introductory piece on "Theatre History as an Academic Discipline" and Robert K. Sarlos, "Performance Reconstruction: the Vital Link between Past and Future", which deals with the problems of reconstructing works, like the Lucerne Passion play and the Stuart masque, for which there is no equivalent in contemporary audience experience. But the book caters to a variety of interests (a number of pieces insist, for instance, on the need to pay more attention to marginalized genres and performers), and will help to send readers off in useful directions. --Lois Potter Rabkin, Norman. Shakespeare and the Problem of Meaning. Probably a given on such a list. --Stephen M. Buhler Reynolds, Peter. Practical Approaches to Teaching Shakespeare. Oxford UP, 1991. In total contrast to Rygiel's book [see below], this one is completely focused on exercises to use in the classroom to bring texts alive in student performance. Offering warm-ups, vocal and physical exercises, and suggestive ways to involve movement and dance, percussion and music, this book for British schoolteachers has the best collection of simple, usable classroom strategies I have seen for getting "the full and active participation of all pupils" (2). Five plays are featured in detail: MND, Romeo & Juliet, Hamlet, Macbeth, and Julius Caesar. An excellent place for a high school or college teacher to start, until she can come to a Potter seminar at the Folger on Teaching Shakespeare through Performance. --Garry Walton Robinson, Randal. Unlocking Shakespeare's Language. NCTE, 1988. --recommended by Geri Jacobs Rose, Mary Beth, ed. Renaissance Drama as Cultural History (Essays from "Renaissance Drama " 1977-1987. Northwestern UP and Newberry Library, 1990. The essays in this collection are concerned with theorizing the relationships between and among the theater, society, and history, and are organized under four topics: "Revising Authority: The Politics of Intertextuality and Infulence" (covers Jonson, Machiavelli, Marlowe, Calderon, the Restoration Tempest, and Civic Pageantry, and includes Don Wayne's helpful revision of L.C. Knights); "Ideologies and Aesthetics of Gender" (incl. essays by Rose, Belsey, and a fine essay by Gail Paster on "Women of City Comedy"); "Transgression and Rebellion" (with pieces on "Revolution and Continuity" in Elizabethan drama, a historicization of the "crowd," and a clear theoretical utterance by Dollimore on "Subjectivity, Sexuality, and Transgression"); "Class Conflict and Social Mobility" (mostly New Historicist approaches to Sidney and courtship, "The Spanish Comedia and the Resistance to Social Change," plays and audiences). Only two focus on Shakespeare: Frank Whigham's "Ideology and Class Conduct in Merchant" and Katharine Maus' "Arcadia Lost: Politics and Revision in the Restoration Tempest." Each one does not directly address production or performance, but many do. --Ann Christensen Rothwell, Kenneth S., and Annabelle H. Melzer. Shakespeare On Screen: An International Filmography and Videography. NY: Neal-Schuman, 1990. A great help for those who use film and video regularly in class. Rothwell offers some excerpts from key reviews of major productions, or adds his own impressions of the many he has seen, plus a bibliography of reviews not excerpted. But the major benefit is the completeness of the work--major silent film treatments and virtually all tv or film productions in the U.S., Britain, and Europe are included, along with some (dated) acquisition information. --Garry Walton Rutter, Carol. Clamorous Voices: Shakespeare's Women Today. Ed. Faith Evans. NY: Routledge, 1989. Six RSC actresses discuss both their recent roles as Shakespearean heroines and the insights that resulted from rehearsing and playing Kate, Isabella, Lady MacBeth, Helena, Imogen, and Rosalind. --Garry Walton Interviews with women actors, Carol Rutter, Sinead Cusack, Paola Dionisotti, Fiona Shaw, Juliet Stevenson, Harriet Walter in various Shakespearean roles: Kate, Isabella, Lady Macbeth, Helena, and Rosalind. Includes a list of productions and illustrations from them. --Michael Shea Rutter interviews and comments upon the performances of five notable women actors who have been associated with the Royal Shakespeare Company: Sinead Cusack, Paola Dionisotti, Fiona Shaw, Juliet Stevenson, and harriet Walker. The book is meant to be "a contribution to theatre history" and it achieves that by doing justice to an important moment in Shakespearean performance, when actors and directors alike started coming to terms with contemporary women's issues through and in Shakespeare's plays and especially his major female roles. Each actor candidly and insightfully discusses interpretive choices and intentions, directorial collaborations and conflicts, and also critical and audience responses. --Stephen M. Buhler Women actors from the RSC discuss the roles they have played and how their understandings of the plays have evolved over time. --Michael Shea Rygiel, Mary Ann. Shakespeare Among Schoolchildren: Approaches for the Secondary Classroom. Urbana: NCTE, 1992. An Alabama high school teacher of the year spent a year being a scholar at the Folger and shows what she learned. Finally, after 4 citation- filled chapters on Language, Sources, Biography, and Dramatic Conventions, she gets to a suggestive but brief final chapter on Shakespeare in the high school classroom (including 3 pages on classroom performance). Not much help for the college teacher. --Garry Walton Senelick, Laurence. Gordon Craig's Moscow Hamlet: A Reconstruction. Westport, CT: Greenwood Press, 1982. This is a meticulous reconstruction of the groundbreaking but problematic 1912 Moscow Art Theater production of Hamlet. Senelick has used promptbooks, annotated scripts, daybooks, rehearsal notes, letters, transcripts of meetings and discussions, newspaper reviews, reminiscences by participants and viewers, artists' designs, and photographs to create a detailed account of this controversial collaboration between Gordon Craig and Konstantin Stanislavsky. He discusses the roots of the collaboration, the theoretical bases for the directors' often conflicting visions, the rehearsal process, the actual production, its reception, and its influence. --Sally Banes Scott, Michael. Renaissance Drama and a Modern Audience. London: Macmillan, 1982. Information on productions of Errors, Measure, and Shakespeare's contemporaries: Volpone, Faustus, Revenger's Tragedy, 'Tis Pity She's a Whore. --David Sauer Shurtleff, Michael. Audition. The most revolutionary way to look at a script for acting since the work of Stanislavski. Though it's called "Audition," the book is an excellent source of acting techniques in general. --Kate Pogue Slater, Ann Pasternak. Shakespeare the Director. NY: Barnes and Noble, 1982. On staging moments: kneeling, kissing, weeping, silence, taking the hand. Useful index of plays to find scenes for doing in class staging moments involving gesture in the text. --David Sauer Sprague, Arthur Colby. This man is the founder of the stage-history approach to Shakespeare, and much of his work has never been superseded. I would recommend: Shakespeare and the Actors, a play by play discussion of Shakespeare's plays in performance up to 1900, drawing its evidence from promptbooks and reviews. I still find it an indispensable starting point, although later writers have gone beyond it. Shakespeare's Histories: Plays for the Stage (available through the Society for Theatre Research, which also published Theatre Notebook) confines itself to the histories and includes both early productions and twentieth-century ones. Shakespeare's Plays Today, written jointly with J.C. Trewin, is more impressionistic but, precisely because it relies on memory for many of its details of performance, it has information not easily available elsewhere. --Lois Potter Spurgeon, Caroline. Shakespeare's Imagery. Cambridge: Cambridge UP. Not essential for actors. But certainly necessary reference for directors, actors, designers, and anyone interested in solid textual exploration. --Mary Corrigan Styan, J.L. The Shakespeare Revolution: Criticism and Performance in the 20th Century. Cambridge: Cambridge UP, 1977. This book strives to unite page and stage in tracing the vicissitudes of British 20th-century Shakespeare scholarship and criticism, on the one hand, and staging, on the other hand, and in showing when and how the two have interacted. Styan begins with a contextual chapter on the Victorian conventions of "spectacular realism" in staging, then shows in succeeding chapters how William Poel and his successors, right up to Peter Brook, challenged that approach in an increasingly abstract and symbolic manner. Indeed, as the 20th century wore on, Styan argues, its theatrical practices have come increasingly closer to Shakespeare's own style of staging. Interspersed with the chapters on contemporary directors' approaches to staging Shakespeare are essays on shifts in scholarship and the relationship of criticism to stage practices. --Sally Banes Styan, J.L. Shakespeare's Stagecraft. Cambridge: Cambridge UP, 1967. On staging moments in the text. --David Sauer Tennenhouse, Leonard. Power on Display: The Politics of Shakespeare's Genres. NY: Methuen, 1986. Tennenhouse approaches the "problem" of organizing the Shakespeare canon by questioning the aesthetic notion of genre classification. Instead, he argues for an understanding of the genres as arenas of political display and contestation. Drawing on Foucault's notion of spectacles of power and Bakhtin's figure of the grotesque, carnivalesque body, and moving among different types of Renaissance discourses, he proposes an understanding of Shakespeare's genres as a series of representations of the aristocratic body, its iconographies and oppositions. Stagecraft and statecraft are intertwined, not in the sense that Shakespeare stands outside the political life of his time, reflecting it as in a mirror, but in the sense that the Renaissance theater is the site where political power is constituted through symbolic display. --Sally Banes Thompson, Ann, with Thomas Berger, A.R. Braunmuller, Philip Edwards, and Lois Potter. Which Shakespeare? Philadelphia: Open UP, 1992. This work is sure to become dated soon, but at present it is a wonderful resource for teachers seeking texts for their classes. Each author assesses in some detail the leading paperback editions of a handful of plays. In general the group favors the New Cambridge and Oxford editions over the older Ardens, and prefers Bevington's Bantams over Signets. But the most often cited editions are the New Penguins -- for 24 of the plays these are among the preferred editions. Bantams are especially complimented in 21 cases, New Cambridge 14, Arden 12, Oxford 9, and Signet 6, by my rough count of the preferred 2 or 3 editions for each play. The Riverside is the recommended Works, with Signet next. Here's my quick summary of their preferences: AWW - New Penguin A & C - New Penguin, New Cmbr AYLI - Signet, New Swan, New Penguin, Arden Bantam CE - New Cmbr, New Penguin, Arden Cor - Arden, New Penguin, Signet, Macmillan Cym - Bantam (with all 4), Signet (w Per and 2NK), Arden Hamlet - New Cmbr, New Penguin, Bantam 1H4 - Oxford, New Penguin, Signet, Bantam 2H4 - New Cmbr, New Penguin, Bantam, Signet H5 - New Penguin, Bantam H6 - New Penguin, New Cmbr H8 - New Cmbr (w KJohn) JC - New Cmbr, Oxford, Macmillan KJohn - Oxford, New Penguin, New Cmbr, Bantam (w H8) KLear - New Penguin, Bantam, (Plays in Performance) LLL - New Penguin, Oxford McB - New Penguin, Macmillan, Bantam, Oxford M M - New Penguin, Bantam (w T&C, AWW) MV - New Cmbr MWW - Arden, Oxford MND - Bantam, New Cmbr MAN - Bantam, New Cmbr Oth - Macmillan, New Cmbr, (Plays in Performance) Per - New Penguin, (Bantam for all 4) R2 - New Cmbr, Arden, New Penguin R3 - Arden, Bantam, (Plays in Performance) R&J - Bantam, Arden TS - New Penguin, New Cmbr, Signet Temp - Oxford, New Penguin, Bantam Timon - New Penguin, Bantam (w Cor and Titus) Titus - Oxford, Bantam (w Cor and Timon) T&C - New Penguin, Arden, Bantam (w MM & AWW) 12N - Arden, Bantam, New Penguin 2GV - New Cmbr, Arden, New Penguin 2NK - Oxford WT - New Penguin, Arden, (Bantam for all 4) Poems - New Penguin, Bantam (incl. sonnets) Sonnets - Signet, New Penguin, Bantam (incl. poems) --Garry Walton Thompson, Marvin and Ruth, eds. Shakespeare and the Sense of Performance. Newark, DE: U. of Delaware Press, 1989. On staging moments in the text. --David Sauer Trewin, J.C. Going to Shakespeare. London: George Allen and Unwin, 1978. Collection of key moments, play by play, in thirty years of reviews. --David Sauer University of Dayton Review. Winter, 1979-80. (Journal) Essays on the Welles, Kurosawa, and Polanski versions of Macbeth. --D. Kranz Warren, Roger. Staging Shakespeare's Late Plays. Oxford University Press. This is an excellent account of Peter Hall's rehearsals for his National Theatre season of Cymbeline, Winter's Tale, and Tempest. Although Warren has an agenda (he hates what he calls "influential criticism": i.e. anything that isn't based in psychological realism), he is superb at describing what goes on in rehearsal and performance. --Lois Potter White, Richard Grant. Studies in Shakespeare. Boston: Houghton, Mifflin & Co., 1886. [sic] Two chapters involve performance considerations--"Stage Rosalinds" and "On the Acting of Iago." The thesis of the former is that the Rosalind in Shakespeare's text, who convincingly disguises herself as a rough male, is rarely played accurately onstage because the performer uses the "opportunity to exhibit herself and her 'toilettes.' " Even a cursory reading of the chapter reveals cultural prejudices of the late nineteenth century. --Michael Shea Willis, Susan. The BBC Shakespeare Plays. Chapel Hill, NC: U of NC Press, 1991. Complete analysis of the BBC series, director by director, then focus on a few key productions. --David Sauer Zimmerman, Hester. "All Right, Shakespeare Fans, On Your Feet." English Journal. (Nov. 1988): 20-21. The author suggests using one scene that has names and punctuation deleted so that students have to build their own meaning from the words. Having them then perform this scene in groups will whet their appetites for reading the entire play. --Michael Shea Series There are three series that deal with individual works in performance: Plays in Performance (Bristol Classical Press): gives text of the play with extensive annotation from the performance point of view and a very full stage history in the Introduction. Relatively few volumes so far, but they include Julie Hankey's excellent Richard III and non-Shakespearean works are also planned; there's already a Duchess of Malfi, ed. K. McLuskie. Text and Performance (Macmillan in England, something else--St Martin's Press?--in U.S.). These are very short books and thus useful for recommending to students. They give an introduction to the play from the viewpoint of performance, followed by a discussion of four twentieth-century productions, one of which is often the BBC video. Includes many non-Shakespearean plays too, from all periods. Shakespeare in Performance (Manchester U.P.). These vary, but at their best are very intelligent, aimed a bit higher than the volumes in the Text and Performance series, and about twice the length (forthcoming volumes will be still longer). --Lois Potter Organizations Recommended: Shakespeare Association of America ACTER (A Center for Theater, Education, and Research) Actors from the London Stage Teresa Ragsdale, General Manager ACTER 2724 South Hall, UCSB Santa Barbara, CA 93106 tel. (805) 893-2457 or 2911 UNANNOTATED BIBLIOGRAPHY: SHAKESPEARE AND THE LANGUAGES OF PERFORMANCE Shakespeare (General) Eagleton, Terry. William Shakespeare. Oxford: Blackwell, 1986. Greer, Germaine. Shakespeare. Oxford: Oxford UP, 1986. Editing Shakespeare Bertram, Paul. White Spaces in Shakespeare: The Development of the Modern Text. Cleveland: Bellflower, 1981. Hinman, Charlton & Fredson Bowers. Two Lectures on Editing: Shakespeare and Hawthorne. Columbus: Ohio State UP, 1969. Schoek, R. J., ed. Editing Sixteenth-Century Texts. Toronto: Toronto UP, 1966. Performance Editions of Shakespeare Holderness, Graham & Bryan Loughery, eds. A Pleasant Conceited Historie, Called the Taming of a Shrew. Barnes & Noble, 1992. ---, eds. The Tragicall Historie of Hamlet Prince of Denmarke. Barnes & Noble, 1992. Production History 1. Bibliographies, Dictionaries, and Surveys Bergeron, David and Geraldo U. de Sousa, "Theatrical Criticism," in Shakespeare: A Study and Research Guide, rev. ed. Lawrence, KS: University Press of Kansas, 1987, pp. 128-137. Byrne, M. St. Clare, "Fifty Years of Shakespearean Production: 1898-1948," Shakespeare Survey 2 (1949): 1-20. Highfill, Philip H., Jr., Kalmin Burnim, and Edward Langhans. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800. 14 vols. Carbondale: Southern Illinois UP, 1973-91. Jamieson, Michael, "Shakespeare in Performance," in Stanley Wells, ed., Shakespeare: A Bibliographical Guide, new ed. Oxford: Oxford UP, 1990), pp. 37-68. Kolin, Philip C. and R. O. Wyatt, "A Bibliography of Scholarship on the Elizabethan Stage since Chambers," Research Opportunities in Renaissance Drama 15-16 (1972-73): 33-59. Nicoll, Allardyce, "Studies in the Elizabethan Stage in 1900," Shakespeare Survey 1 (1948): 1-16. 2. Shakespeare's Staging Beckerman, Bernard. Shakespeare at the Globe, 1599-1609. London: Macmillan, 1962. Bentley, G.E., ed. The Seventeenth-Century Stage. Chicago: U of Chicago Press, 1968. Brissenden, Alan. Shakespeare and the Dance. London: Macmillan, 1981. Brown, John Russell. Shakespeare's Plays in Performance. London: Edward Arnold, 1966. ________. Shakespeare in Performance: An Introduction Through Six Major Plays. New York: Harcourt, Brace, Jovanovich, 1976. Chambers, E. K. The Elizabethan Stage, 4 vols. Oxford: Clarendon Press, 1923; rev. ed. 1951. _______. The Jacobean and Caroline Stage, 7 vols. Oxford: Clarendon Press, 1941-68. de Banke, Cecile. Shakespearean Stage Production Then and Now: A Manual for the Scholar-Player. NY: McGraw-Hill, 1953. Dessen, Alan C. Elizabethan Stage Conventions and Modern Interpreters. Cambridge: Cambridge UP, 1984. Gurr, Andrew. The Shakespearean Stage, 1574-1642. Cambridge: Cambridge UP, 1970; rev. ed. 1980. Gurr, Andrew, with John Orrell, Rebuilding Shakespeare's Globe. London: Routledge, 1989. Hattaway, Michael. Elizabethan Popular Theatre. Theatre Production Studies. London: Routledge and Kegan Paul, 1982. King, T.J. Shakespearean Staging, 1599-1642. Cambridge, MA: Harvard UP, 1971. Nagler, A. M. Shakespeare's Stage. Enlarged ed. New Haven: Yale UP, 1981 (1958). Styan, J.L. Shakespeare's Stagecraft. Cambridge: Cambridge UP, 1967. Thomson, Peter. Shakespeare's Theatre. Theatre Production Studies. Second ed. London: Routledge, 1992. Wickham, Glynne. The Early English Stage: 1300 to 1600, 4 vols. London: Routledge and Kegan Paul; New York: Columbia UP, 1959-81. Wiles, David. Shakespeare's Clown. Cambridge: Cambridge UP, 1987. 3. Shakespeare in Performance since 1660 Beauman, Sally. The Royal Shakespeare Company: A History of Ten Decades. Oxford: Oxford UP, 1982. Brockbank, Philip, ed. Players of Shakespeare 1. Cambridge: Cambridge UP, 1985. Bulman, James C. The Merchant of Venice. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1991. Cox, Murray, ed. Shakespeare Comes to Broadmoor: The Actors Are Come Hither: The Performance of Tragedy in a Secure Psychiatric Hospital. London and Philadelphia: Jessic Kingsley Publishers, 1992. David, Richard. Shakespeare in the Theatre. Cambridge: Cambridge UP, 1978. Dessen, Alan C. Titus Andronicus. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1989. Foulkes, Richard, ed. Shakespeare and the Victorian Stage. Cambridge: Cambridge UP, 1986. Gray, Charles Harold. Theatrical Criticism in London to 1795. New York, 1931; reprint ed. Benjamin Blom, 1964. Hazelton, Nancy J. Doran. Historical Consciousness in Nineteenth-Century Shakespearean Staging. Ann Arbor, MI: UMI Research Press, 1987. Heinemann, Margot. "How Brecht Read Shakespeare." Political Shakespeare: New Essays in Cultural Materialism. Jonathan Dollimore and Alan Sinfield, eds. Ithaca, NY: Cornell UP, 1985. Hill, Errol. Shakespeare in Sable: A History of Black Shakespearean Actors. Amherst: University of Massachussetts Press, 1984. Holderness, Graham. The Taming of the Shrew. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1989. Jackson, Russell, and Robert Smallwood. Players of Shakespeare 2. Cambridge: Cambridge UP, 1988. Kolin, Philip C. Shakespeare in the South. Jackson: UP of Mississippi, 1983. Leggatt, Alexander. King Lear. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1991. Leiter, Samuel L. Shakespeare Around the Globe: A Guide to Notable Postwar Revivals. Westport, CT: Greenwood Press, 1986. Levenson, Jill. Romeo and Juliet. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1987. Loney, Glenn, ed. Peter Brook's Production of William Shakespeare's A Midsummer Night's Dream for the Royal Shakespeare Company: The Complete and Authorized Acting Edition. Chicago: The Dramatic Publishing Company; London: The Royal Shakespeare Company. Lusardi, James P. & June Schlueter. Reading Shakespeare in Performance: King Lear. Rutherford: Fairleigh Dickinson UP, 1991. Marowitz, Charles. Recycling Shakespeare. New York: Applause Theatre Books, 1991. Mazer, Cary M. Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages. Ann Arbor, MI: UMI Research Press, 1981. Odell, George C. D., Shakespeare from Betterton to Irving, 2 vols. Reprint ed. New York: Benjamin Blom, 1963. Poel, William. Shakespeare in the Theatre. London: Sidgwick and Jackson, 1913. Richmond, Hugh. King Richard III. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1989. Senelick, Laurence. Gordon Craig's Moscow Hamlet: A Reconstruction. Westport, CT: Greenwood Press, 1982. Shattuck, Charles. The Shakespeare Promptbooks: A Descriptive Catalogue. Urbana, IL: University of Illinois Press, 1965. Sher, Antony. Year of the King: An Actor's Diary and Sketchbook. London: Chatto and Windus, 1985. Sinfield, Alan, "Royal Shakespeare: theatre and the making of ideology." Political Shakespeare: New Essays in Cultural Materialism. Jonathan Dollimore and Alan Sinfield, eds. Ithaca, NY: Cornell UP, 1985. Sprague, Arthur Cobly. Shakespearian Players and Performances. Cambridge, MA: Harvard UP, 1953. Styan, J. L. All's Well That Ends Well. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1984. _______. The Shakespeare Revolution: Criticism and Performance in the Twentieth Century. Cambridge: Cambridge UP, 1977. Trewin, J.C. Five & Eighty Hamlets. London: Hutchinson, 1987; New York: New Amsterdam Books, 1989. Trewin, J.C., Shakespeare on the English Stage, 1900-1964. Barne & Rockliffe, 1964. Van Lennep, W., A. Couten, G.W. Stone, Jr., and C.B. Hogan. The London Stage 1660-1800. 5 parts. Carbondale: Southern Illinois UP, 1963-68. Warren, Roger. Cymbeline. Shakespeare in Performance. Manchester: Manchester UP; New York: St. Martin's Press, 1989. West, Shearer. The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble. London: St. Martin's Press, 1991. Zarrilli, Phillip B. "For Whom Is the King a King? Issues of Intercultural Production, Perception, and Reception in a Kathakali King Lear." Janelle G. Reinelt and Joseph Roach, eds. Critical Theory and Performance. Ann Arbor, MI: U of Michigan P, 1992. Performance Criticism & Theory (General) Aston, Elaine & George Savona. Theatre As Sign-System: A Semiotics of Text and Performance. London: Routledge, 1991. Campbell, Paul Newell. Form and the Art of Theatre. Bowling Green, Ohio: Bowling Green Univ., 1984. Case, Sue-Ellen, ed. Performing Feminisms: Feminist Critical Theory and Theater. Baltimore, Johns Hopkins UP, 1990. Gruber, William E. Comic Theaters: Studies in Performance and Audience Response. Athens: U of Georgia P, 1986. Hayman, Ronald. How To Read a Play. London: Methuen, 1989 (1977). Issacharoff, Michael & Robin F. Jones, eds. Performing Texts. Philadelphia: U of Penn P, 1988. Reinelt, Janelle G. and Joseph Roach, eds. Critical Theory and Performance. Ann Arbor, MI: U of Michigan P, 1992. Wardle, Irving. Theatre Criticism. New York: Routledge, 1992. Performance Criticism & Theory (Shakespeare) Andrews, John F., ed. Reviewing Shakespeare. Shakespeare Quarterly (special issue). 36.5 (1985). Berger, Harry, Jr. Imaginary Audition: Shakespeare on Stage and Page. Berkeley: U of California P, 1989. Berkoff, Steven. I Am Hamlet. NY: Grove Weidenfeld, 1989. Bevington, David. Action is Eloquence: Shakespeare's Language Of Gesture. Cambridge: Harvard, 1984. Brown, John Russell. "The Politics of Shakespeare Production." Shakespeare Survey. 44: 91-104. Dawson, Anthony B. Indirections: Shakespeare and the Art of Illusion. Toronto: U of Toronto P, 1978. ---. Watching Shakespeare: A Playgoer's Guide. NY: St. Martin's, 1988. Halio, Jay L. Understanding Shakespeare's Plays in Performance. Manchester: Manchester UP, 1988. Homan, Sidney, ed. Shakespeare and the Triple Play: From Study to Stage to Classroom. Bucknell UP, 1988. Joseph, Bertram. Acting Shakespeare. NY: Methuen, 1987 (1960). Kuhn, Maura Slattery. "'Much Virtue in If.'" Shakespeare Quarterly 28 (1977): 40-50. Levin, Richard. New Readings vs. Old Plays. Chicago: Univ. of Chicago, 1979. Loney, Glenn, ed. Staging Shakespeare: Seminars on Production Problems. NY: Garland, 1990. McGuire, Philip C. and David A. Samuelson, eds. Shakespeare: The Theatrical Dimension. New York: AMS, 1979. Reynolds, Peter. Shakespeare: Text Into Performance. London: Penguin, 1991. Righter, Anne. Shakespeare and the Idea of the Play. London: Chatto & Windus, 1962. Rutter, Carol. Clamorous Voices: Shakespeare's Women Today. Ed. Faith Evans. NY: Routledge, 1989. Sprague, Arthur C. Shakespeare and the Actors: The Stage Business in His Plays (1660-1905). NY: Russell & Russell, 1963 (1944). Styan, J. L. The Shakespearean Revolution: Criticism and Performance in the Twentieth Century. Cambridge: Cambridge UP, 1977. Thompson, Marvin & Ruth, eds. Shakespeare and the Sense of Performance: Essays in the Tradition of Performance Criticism in Honor of Bernard Beckerman. Newark: U of Delaware P, 1989. White, Richard Grant. Studies in Shakespeare. Boston: Houghton, Mifflin & Co, 1886. Wilders, John. New Prefaces to Shakespeare. Oxford: Blackwell, 1988. Shakespeare on Film and Television Bulman, J. C. & H. R. Coursen, eds. Shakespeare on Television: An Anthology of Essays and Reviews. UP of New England, 1988. Collick, John. Shakespeare, Cinema and Society. Manchester: Manchester UP, 1989. Eckert, Charles W. Focus on Shakespearean Films. Englewood Cliffs: Prentice- Hall, 1972. Jorgens, Jack. Shakespeare on Film. Bloomington: Indiana UP, 1977. Olivier, Lawrence. Henry V. London: Lorrimer, 1984. Manvell, Roger. Shakespeare and the Film. NY: Praeger, 1971. Quinn, Edward, ed. The Shakespeare Hour: A Companion to the PBS-TV Series. NY: NAL, 1986. Reynolds, Peter. "Unlocking the Box: Shakespeare on Film and Video." Shakespeare in the Changing Curriculum. Lesley Aers and Nigel Wheale. London: Routledge, 1991. Sales, Roger, ed. Shakespeare in Perspective: Volume Two. London: BBC, 1985. Terris, Olwen, ed. Shakespeare: A List of Audio-Visual Materials Available in the UK. London: British Universities Film and Video Council, 1986. (55 Greek St., London W1V 5LR.) Wheale, Nigel. "Scratching Shakespeare: Video-Teaching the Bard." Shakespeare in the Changing Curriculum. Lesley Aers and Nigel Wheale. London: Routledge, 1991. Cultural Materialism/Feminism/Reception Theory/Poststructuralism (Shakespeare) Bristol, Michael D. Shakespeare's America, America's Shakespeare. London: Routledge, 1990. Cartwright, Kent. Shakespearean Tragedy and Its Double: The Rhythms of Audience Response. University Park: Penn St. UP, 1991. Cook, Ann Jennalie. Making a Match: Courtship in Shakespeare and His Society. Princeton: Princeton UP, 1991. ---. The Privileged Playgoers of Shakespeare's London, 1576-1642. Princeton: Princeton UP, 1981. Dollimore, Jonathan & Alan Sinfield, eds. Political Shakespeare: New Essays in Cultural Materialism. Ithaca: Cornell UP, 1985. Drakakis, John, ed. Alternative Shakespeares. NY: Methuen, 1985. Greenblatt, Steven. Shakespearean Negotiations. Gurr, Andrew. Playgoing in Shakespeare's London. Cambridge: Cambridge UP, 1987. Hawkes, Terence. Meaning By Shakespeare. London: Routledge, 1992. Holderness, Graham, ed. The Shakespeare Myth. Manchester, Manchester UP, 1988. ---. Shakespeare Recycled: The Making of Historical Drama. Barnes & Noble, 1992. Howard, Jean E. & Marion F. O'Connor. Shakespeare Reproduced. NY: Methuen, 1987. Kamps, Ivo, ed. Shakespeare Left and Right. NY: Routledge, 1991. Lenz, Swift et al. The Woman's Part: Feminist Interpretations of Shakespeare. Parker, Patricia & Geoffrey Hartman, eds. Shakespeare and the Question of Theory. NY: Methuen, 1985. Taylor, Gary. Reinventing Shakespeare: A Cultural History from the Restoration to the Present. NY: Oxford UP, 1989. Vaughan, Alden T. & Virginia Mason Vaughan. Shakespeare's Caliban: A Cultural History. Cambridge: Cambridge UP, 1991. Psychoanalytic Criticism (Shakespeare) Freedman, Barbara. Staging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy. Ithaca: Cornell UP, 1991. McCary, W. Thomas. Friends and Lovers: The Phenomenology of Desire in Shakespearean Comedy. NY: Columbia UP, 1985. Schwartz, Murray & Coppelia Kahn, eds. Representing Shakespeare. Baltimore: Johns Hopkins UP, 1980. Pedagogy (General) Giroux, Henry & David Purpel, eds. The Hidden Curriculum and Moral Education: Deception or Discovery?. Berkeley: McCutchan Publishing Corp., 1983. Pedagogy (Shakespeare) Aers, Lesley & Nigel Wheale, eds. Shakespeare in the Changing Curriculum. London: Routledge, 1991. Andrews, John F. Teaching Shakespeare. Shakespeare Quarterly (special issue). 35.5 (1984). Cohen, Ralph A., ed. Teaching Shakespeare. Shakespeare Quarterly (special issue). 41.2 (1990). Mallick, David. How Tall is This Ghost, John?. Adelaide: Australian Association for the Teaching of English, 1984. Zimmerman, Hester. "All Right, Shakespeare Fans, On Your Feet." English Journal. (Nov. 1988): 20-21.
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