How to use this book |
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ix | |
Introduction |
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1 | (8) |
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1 | (1) |
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2 | (2) |
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4 | (2) |
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6 | (3) |
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1 A Midsummer Night's Dream: Transformations, illusions, festivity |
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9 | (24) |
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Bakhtin and the carnivalesque |
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9 | (9) |
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Shakespeare's sources: Ovid |
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18 | (5) |
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A Midsummer Night's Dream: Rhyme, rhythm and metre |
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23 | (4) |
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Peter Brook's Dream (1970) |
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27 | (6) |
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2 Much Ado About Nothing: Exploring language and gender |
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33 | (20) |
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Linguistics and the literary text |
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34 | (2) |
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Female talk and marital suitability |
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36 | (5) |
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Analysing the play's opening scene: Two different approaches |
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41 | (7) |
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Shakespeare Retold (2005) |
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48 | (5) |
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3 Twelfth Night: Disguises and desires |
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53 | (24) |
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Cross-dressing and Queer theory |
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53 | (10) |
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Twelfth Night and romantic comedy: Defining genre |
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63 | (5) |
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68 | (4) |
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Renaissance Theatre Company production for stage and screen (1987/8) |
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72 | (5) |
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4 Measure for Measure (and its problems...) |
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77 | (22) |
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Reading Shakespeare psychoanalytically |
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78 | (8) |
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Tensions between the old and the new: Measure for Measure and the Bible |
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86 | (4) |
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Measure for Measure's troubling final act |
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90 | (4) |
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Making Shakespeare `fit': William Davenant's The Law Against Lovers (1662) |
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94 | (5) |
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5 Hamlet: A play of `perpetual modernity' |
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99 | (20) |
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The rise of the Shakespeare film |
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100 | (4) |
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Revenge and the early modern audience |
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104 | (5) |
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`Who's there?' Questions in Hamlet |
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109 | (4) |
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Ghosts on screen: Almereyda's Hamlet (2000) |
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113 | (6) |
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6 Othello: Sex, race and suggestibility |
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119 | (22) |
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Presentism: `The new kid on the Shakespeare block' |
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120 | (5) |
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125 | (5) |
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Othello and the power of language |
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130 | (5) |
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Orson Welles's Othello (1952) |
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135 | (6) |
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7 King Lear: `That things might change, or cease' |
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141 | (24) |
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141 | (7) |
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Early modern ideas of authority and duty |
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148 | (6) |
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154 | (6) |
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Kozintsev's King Lear (1970) |
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160 | (5) |
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8 Macbeth: Kingship and witchcraft |
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165 | (24) |
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Macbeth and masculinities |
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165 | (8) |
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Macbeth the `Jamesian' play |
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173 | (7) |
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180 | (3) |
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Polanski's Macbeth (1971) |
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183 | (6) |
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9 Antony and Cleopatra: The legendary on stage |
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189 | (22) |
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East meets West: A postcolonial view |
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189 | (5) |
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Acting the woman's part: Shakespeare's boy players |
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194 | (5) |
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The Shakespearean soliloquy |
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199 | (5) |
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The all-male Antony and Cleopatra at Shakespeare's Globe (1999) |
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204 | (7) |
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10 King Richard II: The performance of majesty |
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211 | (22) |
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Deconstruction and Shakespeare |
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211 | (7) |
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Clothes and the early modern theatre |
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218 | (3) |
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Shakespeare's all-verse drama |
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221 | (7) |
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`Girlie' Shakespeare: Deborah Warner's Richard II at the Cottesloe (1995) |
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228 | (5) |
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11 Richard III: History's monster or charismatic villain? |
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233 | (22) |
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233 | (6) |
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History and historiography: Early modern approaches |
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239 | (8) |
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Richard's dramatic dialogue |
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247 | (4) |
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Richard III as the fascist 1930s: Loncraine's film (1995) |
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251 | (4) |
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12 Cymbeline: `An experimental romance'? |
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255 | (22) |
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British Studies and the `Welsh play' |
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256 | (5) |
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The advent of the Blackfriars theatre |
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261 | (4) |
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Cymbeline's dramatic structure |
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265 | (5) |
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`Not an evening for purists': Kneehigh Theatre's Cymbeline (2006/7) |
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270 | (7) |
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13 The Winter's Tale: Tyranny, trials, time |
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277 | (24) |
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277 | (7) |
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284 | (6) |
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290 | (5) |
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BBC Shakespeare and Jane Howell's The Winter's Tale (1981) |
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295 | (6) |
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14 The Tempest: Where `Thought is free' |
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301 | (24) |
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301 | (7) |
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308 | (5) |
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313 | (5) |
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Shakespeare and opera: Thomas Ades's The Tempest (2004) |
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318 | (7) |
Glossary of critical terms used in this book |
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325 | (4) |
Abbreviations |
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329 | (2) |
References |
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331 | (10) |
Index |
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341 | |