David Carnegie – författare

This book is about the search for a lost play. Celebrating the quatercentenary of publication of the first translation of Don Quixote, it is the first collection of essays entirely devoted to The History of Cardenio, a play based on Cervantes and probably written in that same year. It was said to be written by Shakespeare and the young man who was taking his place, John Fletcher, the most successful English playwright of the seventeenth century. Thebook brings together leading scholars, critics, and theatre practitioners to discuss the lost (or partially lost) play. It also re-examines Lewis Theobald''s 1727 Double Falsehood, allegedly based on Cardenio. A range of approaches -new archival evidence, employment of advanced computer-aided stylometric tests forauthorship attribution, early modern theatre history, literary and theatrical analysis, musicology, and recent theatrical productions and adaptations - produces new research findings about the play, Shakespeare, Fletcher, Cervantes, and the early modern relationship between Spanish and English culture. The book establishes the dates, venues, and audience for two performances of Cardenio by the King''s Men in 1613, and identifies glimpses of the play in several seventeenth-centurydocuments. It also provides much new evidence and analysis of Double Falsehood, which Theobald claimed was based on previously unknown manuscripts of a play by Shakespeare. His enemies, especially Pope, denied the Shakespeare attribution. Debate has continued ever since. While some contributors advocate scepticalcaution, new research provides stronger evidence than ever before that a lost Fletcher/Shakespeare Cardenio can be discerned within Double Falsehood. Uniquely, this collection combines archival research and literary analysis with accounts of recent theatrical experiments, which explore the Cardenio problem by reviving or adapting Double Falsehood, and demonstrate that such practical theatrical work throws valuable light on some of the problems that haveobstructed traditional scholarly approaches. It thus offers a new paradigm for the creative interaction of scholarship and performance.

This book is about the search for a lost play. Celebrating the quatercentenary of publication of the first translation of Don Quixote, it is the first collection of essays entirely devoted to The History of Cardenio, a play based on Cervantes and probably written in that same year. It was said to be written by Shakespeare and the young man who was taking his place, John Fletcher, the most successful English playwright of the seventeenth century. The book brings together leading scholars, critics, and theatre practitioners to discuss the lost (or partially lost) play. It also re-examines Lewis Theobald's 1727 Double Falsehood, allegedly based on Cardenio. A range of approaches -new archival evidence, employment of advanced computer-aided stylometric tests for authorship attribution, early modern theatre history, literary and theatrical analysis, musicology, and recent theatrical productions and adaptations - produces new research findings about the play, Shakespeare, Fletcher, Cervantes, and the early modern relationship between Spanish and English culture. The book establishes the dates, venues, and audience for two performances of Cardenio by the King's Men in 1613, and identifies glimpses of the play in several seventeenth-century documents. It also provides much new evidence and analysis of Double Falsehood, which Theobald claimed was based on previously unknown manuscripts of a play by Shakespeare. His enemies, especially Pope, denied the Shakespeare attribution. Debate has continued ever since. While some contributors advocate sceptical caution, new research provides stronger evidence than ever before that a lost Fletcher/Shakespeare Cardenio can be discerned within Double Falsehood. Uniquely, this collection combines archival research and literary analysis with accounts of recent theatrical experiments, which explore the Cardenio problem by reviving or adapting Double Falsehood, and demonstrate that such practical theatrical work throws valuable light on some of the problems that have obstructed traditional scholarly approaches. It thus offers a new paradigm for the creative interaction of scholarship and performance.

The Duchess of Malfi is generally regarded as John Webster's finest play, a masterpiece of tragic depth and emotional complexity. The conflict between private love and public political behaviour for a passionate but circumscribed woman is as theatrically pertinent now as when first performed. This timely Handbook:- Examines the play's sources and its cultural context- Offers a detailed theatrical commentary that aids visualisation of the underlying dynamics and structure of the play in performance, and explores performance possibilities- Analyses influential productions on stage and screen, from when it was first performed by the actors of Shakespeare's theatre company, the King's Men, to the present day- Presents key critical debates and assessments of The Duchess of Malfi

The Duchess of Malfi is generally regarded as John Webster's finest play, a masterpiece of tragic depth and emotional complexity. The conflict between private love and public political behaviour for a passionate but circumscribed woman is as theatrically pertinent now as when first performed. This timely Handbook:- Examines the play's sources and its cultural context- Offers a detailed theatrical commentary that aids visualisation of the underlying dynamics and structure of the play in performance, and explores performance possibilities- Analyses influential productions on stage and screen, from when it was first performed by the actors of Shakespeare's theatre company, the King's Men, to the present day- Presents key critical debates and assessments of The Duchess of Malfi

This is the first volume to appear in the Cambridge edition of the works of John Webster, beginning with the plays The White Devil and The Duchess of Malfi. The following volume planned for publication will include the other plays as well as the poems and prose. While both The White Devil and The Duchess of Malfi are available in modernized versions, the Cambridge edition incorporates the more recent editorial scholarship including valuable information on Webster's biography, critical methods, and textual theory. In particular, the edition integrates theatrical aspects of the texts with their bibliographical and literary features in a way not previously attempted for a scholarly edition of a Jacobean dramatist. The edition also presents previously unpublished material including a fragment of an otherwise lost play and a hitherto unknown poem and provides a brief biography of Webster, a history of the Webster canon, and reception history for each play.

This is the second volume to appear in the Cambridge edition of the works of John Webster and includes The Devil's Law-Case, A Cure for a Cuckold and Appius and Virginia. This critical edition preserves the original spelling of all the plays; incorporates editorial scholarship, including valuable information on Webster's share in the collaborative plays; and employs alternative critical methods and textual theory. In particular, the edition integrates theatrical aspects of the plays with their bibliographical and literary features in a way not previously attempted in a scholarly edition of a Jacobean dramatist. The edition presents all of Webster's plays (with the exception of those collaborative plays already published in the Cambridge editions of Dekker, and Beaumont and Fletcher) and provides a brief biography, an account of Webster canon, illustrations, and critical and theatrical history of each play.

This is the third and final volume of the Cambridge edition of the works of John Webster. It contains the final complete play in the edition, the City comedy Anything for a Quiet Life, as well as Webster's spectacular Lord Mayor's pageant Monuments of Honour and his Induction and additions to John Marston's The Malcontent. Webster's non-dramatic work is also included: the deeply felt verse elegy to Prince Henry entitled A Monumental Column, his various shorter poems, including verses for the engraving of The Progeny of ... Prince James, and the thirty-two New Characters added to the sixth edition of Sir Thomas Overbury's Characters. This Cambridge critical edition preserves the original spelling of all the plays, poetry and prose, and incorporates the most recent editorial scholarship, including valuable information on Webster's share in the collaborative plays, and new critical methods and textual theory.

This is the second volume to appear in the Cambridge edition of the works of John Webster and includes The Devil's Law-Case, A Cure for a Cuckold and Appius and Virginia. This critical edition preserves the original spelling of all the plays; incorporates editorial scholarship, including valuable information on Webster's share in the collaborative plays; and employs alternative critical methods and textual theory. In particular, the edition integrates theatrical aspects of the plays with their bibliographical and literary features in a way not previously attempted in a scholarly edition of a Jacobean dramatist. The edition presents all of Webster's plays (with the exception of those collaborative plays already published in the Cambridge editions of Dekker, and Beaumont and Fletcher) and provides a brief biography, an account of Webster canon, illustrations, and critical and theatrical history of each play.

This is the fourth and final volume of the Cambridge edition of the works of John Webster. It contains four plays Webster wrote in collaboration, one - Sir Thomas Wyatt, a historical tragedy based around Lady Jane Grey - as part of a team of five led by Thomas Dekker, two - Westward Ho and Northward Ho, city comedies that prompted Chapman, Jonson, and Marston's Eastward Ho - with Thomas Dekker alone, and one - The Fair Maid of the Inn, an Italianate tragicomedy of which Webster wrote the largest share - with John Fletcher, Philip Massinger and John Ford. With the inclusion of these four plays, this Cambridge edition becomes the first complete works of John Webster. The edition preserves the original spelling of the plays, poetry, and prose, and incorporates the most recent editorial scholarship, including information on Webster's share in the collaborative plays, and new critical methods, textual theory, and theatrical analysis.

This is the fourth and final volume of the Cambridge edition of the works of John Webster. It contains four plays Webster wrote in collaboration, one - Sir Thomas Wyatt, a historical tragedy based around Lady Jane Grey - as part of a team of five led by Thomas Dekker, two - Westward Ho and Northward Ho, city comedies that prompted Chapman, Jonson, and Marston's Eastward Ho - with Thomas Dekker alone, and one - The Fair Maid of the Inn, an Italianate tragicomedy of which Webster wrote the largest share - with John Fletcher, Philip Massinger and John Ford. With the inclusion of these four plays, this Cambridge edition becomes the first complete works of John Webster. The edition preserves the original spelling of the plays, poetry, and prose, and incorporates the most recent editorial scholarship, including information on Webster's share in the collaborative plays, and new critical methods, textual theory, and theatrical analysis.

This is the fourth and final volume of the Cambridge edition of the works of John Webster. It contains four plays Webster wrote in collaboration, one - Sir Thomas Wyatt, a historical tragedy based around Lady Jane Grey - as part of a team of five led by Thomas Dekker, two - Westward Ho and Northward Ho, city comedies that prompted Chapman, Jonson, and Marston''s Eastward Ho - with Thomas Dekker alone, and one - The Fair Maid of the Inn, an Italianate tragicomedy of which Webster wrote the largest share - with John Fletcher, Philip Massinger and John Ford. With the inclusion of these four plays, this Cambridge edition becomes the first complete works of John Webster. The edition preserves the original spelling of the plays, poetry, and prose, and incorporates the most recent editorial scholarship, including information on Webster''s share in the collaborative plays, and new critical methods, textual theory, and theatrical analysis.

Julius Caesar is possibly the play that opened The Globe theatre. Certainly it was one of the first to be performed there, using the acting resources of the company and the new stage space with dramatic confidence. The first of Shakespeare''s mature tragedies, Julius Caesar is also stirring history. The great political debates between Republic and Empire, democracy and dictatorship, mob rule and tyranny are as applicable today as they were in Elizabethan England, and to the Romans themselves in 44 BC. Highlights of this Handbook include:- A commentary at the heart of the book which guides the reader through the play as it unfolds moment by moment in performance, with special attention to the theatrical choices facing actors and directors.- An account of the play''s sources and its cultural context.- Analysis of influential performances on stage and screen, and of changes in the play''s critical reception.Lively and stimulating, this invaluable guide offers a unique investigation of the theatrical life of one of Shakespeare''s great tragedies.

The Duchess of Malfi is generally regarded as John Webster''s finest play, a masterpiece of tragic depth and emotional complexity. The conflict between private love and public political behaviour for a passionate but circumscribed woman is as theatrically pertinent now as when first performed. This timely Handbook:- Examines the play''s sources and its cultural context- Offers a detailed theatrical commentary that aids visualisation of the underlying dynamics and structure of the play in performance, and explores performance possibilities- Analyses influential productions on stage and screen, from when it was first performed by the actors of Shakespeare''s theatre company, the King''s Men, to the present day- Presents key critical debates and assessments of The Duchess of Malfi

The Duchess of Malfi is generally regarded as John Webster''s finest play, a masterpiece of tragic depth and emotional complexity. The conflict between private love and public political behaviour for a passionate but circumscribed woman is as theatrically pertinent now as when first performed. This timely Handbook:- Examines the play''s sources and its cultural context- Offers a detailed theatrical commentary that aids visualisation of the underlying dynamics and structure of the play in performance, and explores performance possibilities- Analyses influential productions on stage and screen, from when it was first performed by the actors of Shakespeare''s theatre company, the King''s Men, to the present day- Presents key critical debates and assessments of The Duchess of Malfi

Julius Caesar is possibly the play that opened The Globe theatre. Certainly it was one of the first to be performed there, using the acting resources of the company and the new stage space with dramatic confidence. The first of Shakespeare''s mature tragedies, Julius Caesar is also stirring history. The great political debates between Republic and Empire, democracy and dictatorship, mob rule and tyranny are as applicable today as they were in Elizabethan England, and to the Romans themselves in 44 BC. Highlights of this Handbook include:- A commentary at the heart of the book which guides the reader through the play as it unfolds moment by moment in performance, with special attention to the theatrical choices facing actors and directors.- An account of the play''s sources and its cultural context.- Analysis of influential performances on stage and screen, and of changes in the play''s critical reception.Lively and stimulating, this invaluable guide offers a unique investigation of the theatrical life of one of Shakespeare''s great tragedies.

Julius Caesar is possibly the play that opened The Globe theatre. Certainly it was one of the first to be performed there, using the acting resources of the company and the new stage space with dramatic confidence. The first of Shakespeare's mature tragedies, Julius Caesar is also stirring history. The great political debates between Republic and Empire, democracy and dictatorship, mob rule and tyranny are as applicable today as they were in Elizabethan England, and to the Romans themselves in 44 BC. Highlights of this Handbook include:- A commentary at the heart of the book which guides the reader through the play as it unfolds moment by moment in performance, with special attention to the theatrical choices facing actors and directors.- An account of the play's sources and its cultural context.- Analysis of influential performances on stage and screen, and of changes in the play's critical reception.Lively and stimulating, this invaluable guide offers a unique investigation of the theatrical life of one of Shakespeare's great tragedies.