Companion to Shakespeare and Performance

Barbara Hodgdon is Professor of English at the University of Michigan and Ellis and Nelle Levitt Distinguished Professor Emerita at Drake University. Her previous publications include The End Crowns All: Closure and Contradiction in Shakespeare’s History (1991), The First Part of King Henry the Fourth: Texts and Contexts (1997), and The Shakespeare Trade: Performances and Appropriations (1998). She was guest editor for a special issue of Shakespeare Quarterly (2002) on Shakespeare films and is currently editing The Taming of the Shrew for the Arden 3 series. W. B. Worthen is Professor and Chair of the Department of Theatre at Barnard College. He is the author of The Idea of the Actor (1984), Modern Drama and the Rhetoric of Theater (1992), Shakespeare and the Authority of Performance (1997), Shakespeare and the Force of Modern Performance (2003), and Print and the Poetics of Modern Drama (2006). He is also the editor of several volumes, including the Wadsworth Anthology of Drama.

"The volume compiles superb essays written by an excellent cast of 34 contributors and edited by star scholars" Choice

• List of Illustrations ixNotes on Contributors xiAcknowledgments xviIntroduction: A Kind of History 1Barbara HodgdonPart I Overviews: Terms of Performance 111 Reconstructing Love: King Lear and Theatre Architecture 13Peggy Phelan2 Shakespeare’s Two Bodies 36Peter Holland3 Ragging Twelfth Night: 1602, 1996, 2002–3 57Bruce R. Smith4 On Location 79Robert Shaughnessy5 Where is Hamlet? Text, Performance, and Adaptation 101Margaret Jane Kidnie6 Shakespeare and the Possibilities of Postcolonial Performance 121Ania LoombaPart II Materialities: Writing and Performance 1397 The Imaginary Text, or the Curse of the Folio 141Anthony B. Dawson8 Shakespearean Screen/Play 162Laurie E. Osborne9 What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet 179Simon Palfrey and Tiffany Stern10 Editors in Love? Performing Desire in Romeo and Juliet 197Wendy Wall11 Prefixing the Author: Print, Plays, and Performance 212W. B. WorthenPart III Histories 23112 Shakespeare the Victorian 233Richard W. Schoch13 Shakespeare Goes Slumming: Harlem ’37 and Birmingham ’97 249Kathleen McLuskie14 Stanislavski, Othello, and the Motives of Eloquence 267John Gillies15 Shakespeare, Henry VI and the Festival of Britain 285Stuart Hampton-Reeves16 Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival 297Ric Knowles17 Performance as Deflection 319Miriam Gilbert18 Maverick Shakespeare 335Carol Chillington Rutter19 Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing 359Paul Prescott20 Performing History: Henry IV, Money, and the Fashion of the Times 376Diana E. HendersonPart IV Performance Technologies, Cultural Technologies 39721 ‘‘Are We Being Theatrical Yet?’’: Actors, Editors, and the Possibilities of Dialogue 399Michael Cordner22 Shakespeare on the Record 415Douglas Lanier23 SShockspeare: (Nazi) Shakespeare Goes Heil-lywood 437Richard Burt24 Game Space/Tragic Space: Julie Taymor’s Titus 457Peter S. Donaldson25 Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture 478Elizabeth A. Deitchman26 Shakespeare on Vacation 494Susan BennettPart V Identities of Performance 50927 Visions of Color: Spectacle, Spectators, and the Performance of Race 511Margo Hendricks28 Shakespeare and the Fiction of the Intercultural 527Yong Li Lan29 Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare’s Globe 550G. B. Shand30 Queering the Audience: All-Male Casts in Recent Productions of Shakespeare 564James C. Bulman31 A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland 588Courtney Lehmann32 Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions 610Joanne TompkinsPart VI Performing Pedagogies 62533 Teaching Through Performance 627James N. Loehlin34 ‘‘The eye of man hath not heard, / The ear of man hath not seen’’: Teaching Tools for Speaking Shakespeare 644Peter LichtenfelsIndex 659