This Wide and Universal Theater  28616

Shakespeare in Performance Then and Now

  1. Actions That a Man Might Play: An Introduction
  2. There Lies the Scene: Actors and Theaters in Late Elizabethan England
  3. A Local Habitation and a Name: Stage Business in the Comedies
  4. Thus Play I in One Person Many People: Performing the Histories
  5. Like a Strutting Player: Staging Moral Ambiguity in Measure for Measure and Troilus and Cressida
  6. The Motive and the Cue for Passion: Romeo and Juliet, Hamlet, and Othello in Performance
  7. A Poor Player That Struts and Frets His Hour upon the Stage: Role-playing in King Lear, Macbeth, and Antony and Cleopatra
  8. Insubstantial Pageant: Shakespeare’s Farewell to the Stage
  9. This Falls Out Better Than I Could Devise: An Afterword

Topics covered by this book

  1. Romeo and Juliet (drama) • p129 • Chapter 6: The Motive and the Cue for Passion – Romeo and Juliet, Hamlet, and Othello in Performance
  2. Macbeth (drama) • p159 • Chapter 7: A Poor Player That Struts and Frets His Hour upon the Stage – Role-playing in King Lear, Macbeth, and Antony and Cleopatra
  3. King Lear (drama) • p159 • Chapter 7: A Poor Player That Struts and Frets His Hour upon the Stage – Role-playing in King Lear, Macbeth, and Antony and Cleopatra
  4. Antony and Cleopatra (drama) • p159 • Chapter 7: A Poor Player That Struts and Frets His Hour upon the Stage – Role-playing in King Lear, Macbeth, and Antony and Cleopatra
  5. Othello (drama) • p129 • Chapter 6: The Motive and the Cue for Passion – Romeo and Juliet, Hamlet, and Othello in Performance
  6. Troilus and Cressida (drama) • p105 • Chapter 5: Like a Strutting Player – Staging Moral Ambiguity in Measure for Measure and Troilus and Cressida
  7. Measure for Measure (drama) • p105 • Chapter 5: Like a Strutting Player – Staging Moral Ambiguity in Measure for Measure and Troilus and Cressida
  8. Hamlet (drama) • p129 • Chapter 6: The Motive and the Cue for Passion – Romeo and Juliet, Hamlet, and Othello in Performance
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