- Preface Michael Billington
- Twelfth Night: a Stage History
- Approaches to Twelfth Night
- What Kind of Play?
- Seasons, Months and Days
- What is Illyria?
- A Displaced Englishness?
- Naturalism and Its Limits
- Emergence of the Themes
- Topical References – and Rhythms
- The Order of the Scenes
- The ‘Pressure Points’ of a Play
- The Choice of Period
- The Social Structure of the Play
- Viola: Passive or Volatile?
- Viola: Limited by Goodness?
- The Problem of Viola’s First Scene
- Antonio, Sebastian, and Sexual Ambiguity
- Convention – or Complication?
- The Comic Chemistry of Olivia
- Sir Toby and Sir Andrew
- The Inheritance of Tradition
- Feste – Fool or Clown?
- The Songs and the Singer
- Fitting the Music to the Mood
- Orsino: Setting the Tone
- Malvolio: the Social Status of the Steward
- Malvolio: What Kind of a Character?
- Maria and the Matter of Marriage
- The Problem of Intention
- The Role of Sebastian
- Lover – or Lookalike?
- Finding a Function for Fabian
- Translating the Verse – and the Emotions
- The Comedy of the Yellow Stockings
- The Laughter and the Pain
- Unlocking the Play
- Discovering Shakespeare’s World
- What Kinds of Research?
- Realism and Fable
- Poetry as Truth to Emotions
- A Disharmonious Conclusion
Topics covered by this book
- Twelfth Night (drama)
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