Catherine Loomis is professor of English and women’s studies at the University of New Orleans. She is the author of William Shakespeare: A Documentary Volume and The Death of Elizabeth I: Remembering and Reconstructing the Virgin Queen.Sid Ray is professor of English and women’s and gender studies at Pace University, New York campus. She is the author of Holy Estates: Marriage and Monarchy in Shakespeare and his Contemporaries and Mother Queens and Princely Sons: Rogue Madonnas in the Age of Shakespeare.

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• AcknowledgmentsDedicationForewordRalph Alan CohenThe Bear StageCatherine Loomis and Sid RayPart I “Edit, pursued by a bear”:Essays on Editing Shakespeare for the Stage and the Page1 “Now this is where you can bring in Cleopatra’s horse”: Editing Shakespeare for the StageAnn Thompson2 Patient Auditor to Gentle Reader: Transforming the Introduction from Playhouse to Print HouseAnn Pleiss Morris 3 “Why do you thus exclaim?”: Emotionally Inflected Punctuation in Editorial Practice and in PerformanceCass MorrisPart II: “I must bear a part”: Essays on Analyzing and Playing Character4 Why Are Shakespeare’s Characters So Relatable?Matt Kozusko5 Anatomiz[ing] Regan: Performing Parts in King Lear”Paige Martin Reynolds6 A Piece of Cake, a Bit of Dance, and a Fat Suit on Its Knees: Staging the Epilogue of 2 Henry IV at the Blackfriars in 2010James Keegan7 Isabella in Measure for Measure: Discovering the Pleasure of PerformanceCelestine Woo8 “You that way, we this way”: Letters and Possibilities in Love’s Labour’s LostSybille Bruun9 Moll’s Queer Anatomy: The Roaring Girl and Queer GenerationChristopher Clary10 Imaginative Bodies and Bodies Imagined in Shakespeare’s The Tempest and Fletcher and Massinger’s The Sea VoyageMichael WagonerPart III“Devil in a bear’s doublet”: Essays on Shaping Performance11 The Thundering Audience of King LearHeidi N. Cephus12 “Off with his head! … So much for [Hewlett/Brown]”: The African Grove Theatre Presents Richard IIIDanielle Rosvally13 “To make the unskillful laugh”: A Rhetoric of Belches in Twelfth NightSid Ray14 “And are by child with me”: The Performance of Pregnancy in Shakespeare’s All’s Well That Ends WellKathryn M. Moncrief15 “Your majesty came not like yourself”: Staging and Understanding the Glove Episode of Henry VAnnalisa Castaldo16 Bringing Justice to Bear: An Unusual 1609 TrialCatherine LoomisPart IV:“Dissembling Cub[s]”: Essays on Staging the Metatheatrical 17 Doubling in The Comedy of ErrorsAlan Armstrong18 Scare Bear: Playing with MucedorusPeter Hyland19 “Pardon, gentles all”: Performing the MetatheatricalDeb Streusand20 Craving the Law in The Merchant of Venice, or How to Draft an Enforceable Contract for a Pound of FleshKimberly WestPart V“Bear the Verses”: Essays on Rhetoric and Performance21 Refiguring Richard: Towards a Hermeneutics of the FigurePeter Kanelos22 “Ah, poor our sex! This fault in us I find”: Performative Silences in Troilus and CressidaFiona Harris-Ramsby23 Shakespeare and the History of the BookishRuss McDonaldAbout the Contributors

Catherine Loomis is professor of English and women’s studies at the University of New Orleans. She is the author of William Shakespeare: A Documentary Volume and The Death of Elizabeth I: Remembering and Reconstructing the Virgin Queen.Sid Ray is professor of English and women’s and gender studies at Pace University, New York campus. She is the author of Holy Estates: Marriage and Monarchy in Shakespeare and his Contemporaries and Mother Queens and Princely Sons: Rogue Madonnas in the Age of Shakespeare.

Select Guide Rating

• AcknowledgmentsDedicationForewordRalph Alan CohenThe Bear StageCatherine Loomis and Sid RayPart I “Edit, pursued by a bear”:Essays on Editing Shakespeare for the Stage and the Page1 “Now this is where you can bring in Cleopatra’s horse”: Editing Shakespeare for the StageAnn Thompson2 Patient Auditor to Gentle Reader: Transforming the Introduction from Playhouse to Print HouseAnn Pleiss Morris 3 “Why do you thus exclaim?”: Emotionally Inflected Punctuation in Editorial Practice and in PerformanceCass MorrisPart II: “I must bear a part”: Essays on Analyzing and Playing Character4 Why Are Shakespeare’s Characters So Relatable?Matt Kozusko5 Anatomiz[ing] Regan: Performing Parts in King Lear”Paige Martin Reynolds6 A Piece of Cake, a Bit of Dance, and a Fat Suit on Its Knees: Staging the Epilogue of 2 Henry IV at the Blackfriars in 2010James Keegan7 Isabella in Measure for Measure: Discovering the Pleasure of PerformanceCelestine Woo8 “You that way, we this way”: Letters and Possibilities in Love’s Labour’s LostSybille Bruun9 Moll’s Queer Anatomy: The Roaring Girl and Queer GenerationChristopher Clary10 Imaginative Bodies and Bodies Imagined in Shakespeare’s The Tempest and Fletcher and Massinger’s The Sea VoyageMichael WagonerPart III“Devil in a bear’s doublet”: Essays on Shaping Performance11 The Thundering Audience of King LearHeidi N. Cephus12 “Off with his head! … So much for [Hewlett/Brown]”: The African Grove Theatre Presents Richard IIIDanielle Rosvally13 “To make the unskillful laugh”: A Rhetoric of Belches in Twelfth NightSid Ray14 “And are by child with me”: The Performance of Pregnancy in Shakespeare’s All’s Well That Ends WellKathryn M. Moncrief15 “Your majesty came not like yourself”: Staging and Understanding the Glove Episode of Henry VAnnalisa Castaldo16 Bringing Justice to Bear: An Unusual 1609 TrialCatherine LoomisPart IV:“Dissembling Cub[s]”: Essays on Staging the Metatheatrical 17 Doubling in The Comedy of ErrorsAlan Armstrong18 Scare Bear: Playing with MucedorusPeter Hyland19 “Pardon, gentles all”: Performing the MetatheatricalDeb Streusand20 Craving the Law in The Merchant of Venice, or How to Draft an Enforceable Contract for a Pound of FleshKimberly WestPart V“Bear the Verses”: Essays on Rhetoric and Performance21 Refiguring Richard: Towards a Hermeneutics of the FigurePeter Kanelos22 “Ah, poor our sex! This fault in us I find”: Performative Silences in Troilus and CressidaFiona Harris-Ramsby23 Shakespeare and the History of the BookishRuss McDonaldAbout the Contributors

Catherine Loomis is professor of English and women’s studies at the University of New Orleans. She is the author of William Shakespeare: A Documentary Volume and The Death of Elizabeth I: Remembering and Reconstructing the Virgin Queen.Sid Ray is professor of English and women’s and gender studies at Pace University, New York campus. She is the author of Holy Estates: Marriage and Monarchy in Shakespeare and his Contemporaries and Mother Queens and Princely Sons: Rogue Madonnas in the Age of Shakespeare.

Select Guide Rating

• AcknowledgmentsDedicationForewordRalph Alan CohenThe Bear StageCatherine Loomis and Sid RayPart I “Edit, pursued by a bear”:Essays on Editing Shakespeare for the Stage and the Page1 “Now this is where you can bring in Cleopatra’s horse”: Editing Shakespeare for the StageAnn Thompson2 Patient Auditor to Gentle Reader: Transforming the Introduction from Playhouse to Print HouseAnn Pleiss Morris 3 “Why do you thus exclaim?”: Emotionally Inflected Punctuation in Editorial Practice and in PerformanceCass MorrisPart II: “I must bear a part”: Essays on Analyzing and Playing Character4 Why Are Shakespeare’s Characters So Relatable?Matt Kozusko5 Anatomiz[ing] Regan: Performing Parts in King Lear”Paige Martin Reynolds6 A Piece of Cake, a Bit of Dance, and a Fat Suit on Its Knees: Staging the Epilogue of 2 Henry IV at the Blackfriars in 2010James Keegan7 Isabella in Measure for Measure: Discovering the Pleasure of PerformanceCelestine Woo8 “You that way, we this way”: Letters and Possibilities in Love’s Labour’s LostSybille Bruun9 Moll’s Queer Anatomy: The Roaring Girl and Queer GenerationChristopher Clary10 Imaginative Bodies and Bodies Imagined in Shakespeare’s The Tempest and Fletcher and Massinger’s The Sea VoyageMichael WagonerPart III“Devil in a bear’s doublet”: Essays on Shaping Performance11 The Thundering Audience of King LearHeidi N. Cephus12 “Off with his head! … So much for [Hewlett/Brown]”: The African Grove Theatre Presents Richard IIIDanielle Rosvally13 “To make the unskillful laugh”: A Rhetoric of Belches in Twelfth NightSid Ray14 “And are by child with me”: The Performance of Pregnancy in Shakespeare’s All’s Well That Ends WellKathryn M. Moncrief15 “Your majesty came not like yourself”: Staging and Understanding the Glove Episode of Henry VAnnalisa Castaldo16 Bringing Justice to Bear: An Unusual 1609 TrialCatherine LoomisPart IV:“Dissembling Cub[s]”: Essays on Staging the Metatheatrical 17 Doubling in The Comedy of ErrorsAlan Armstrong18 Scare Bear: Playing with MucedorusPeter Hyland19 “Pardon, gentles all”: Performing the MetatheatricalDeb Streusand20 Craving the Law in The Merchant of Venice, or How to Draft an Enforceable Contract for a Pound of FleshKimberly WestPart V“Bear the Verses”: Essays on Rhetoric and Performance21 Refiguring Richard: Towards a Hermeneutics of the FigurePeter Kanelos22 “Ah, poor our sex! This fault in us I find”: Performative Silences in Troilus and CressidaFiona Harris-Ramsby23 Shakespeare and the History of the BookishRuss McDonaldAbout the Contributors