There Lies the Scene: Actors and Theaters in Late Elizabethan England
A Local Habitation and a Name: Stage Business in the Comedies
Thus Play I in One Person Many People: Performing the Histories
Like a Strutting Player: Staging Moral Ambiguity in Measure for Measure and Troilus and Cressida
The Motive and the Cue for Passion: Romeo and Juliet, Hamlet, and Othello in Performance
A Poor Player That Struts and Frets His Hour upon the Stage: Role-playing in King Lear, Macbeth, and Antony and Cleopatra
Insubstantial Pageant: Shakespeare’s Farewell to the Stage
This Falls Out Better Than I Could Devise: An Afterword
Topics covered by this book
Romeo and Juliet (drama) • p129 • Chapter 6: The Motive and the Cue for Passion – Romeo and Juliet, Hamlet, and Othello in Performance
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
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
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
Othello (drama) • p129 • Chapter 6: The Motive and the Cue for Passion – Romeo and Juliet, Hamlet, and Othello in Performance
Troilus and Cressida (drama) • p105 • Chapter 5: Like a Strutting Player – Staging Moral Ambiguity in Measure for Measure and Troilus and Cressida
Measure for Measure (drama) • p105 • Chapter 5: Like a Strutting Player – Staging Moral Ambiguity in Measure for Measure and Troilus and Cressida
Hamlet (drama) • p129 • Chapter 6: The Motive and the Cue for Passion – Romeo and Juliet, Hamlet, and Othello in Performance