Sonia Massai - Böcker

This collection brings together emerging and established scholars to explore fresh approaches to Shakespeare’s best-known play. Hamlet has often served as a testing ground for innovative readings and new approaches. Its unique textual history – surviving as it does in three substantially different early versions – means that it offers an especially complex and intriguing case-study for histories of early modern publishing and the relationship between page and stage. Similarly, its long history of stage and screen revival, creative appropriation and critical commentary offer rich materials for various forms of scholarship. The essays in Hamlet: The State of Play explore the play from a variety of different angles, drawing on contemporary approaches to gender, sexuality, race, the history of emotions, memory, visual and material cultures, performativity, theories and histories of place, and textual studies. They offer fresh approaches to literary and cultural analysis, offer accessible introductions to some current ways of exploring the relationship between the three early texts, and present analysis of some important recent responses to Hamlet on screen and stage, together with a set of approaches to the study of adaptation.

William Shakespeare's Twelfth Night (c.1600) is one of his most captivating plays. A comedy of mistaken identities, it has given rise to thought-provoking debates around such issues as gender identity and role-playing, manipulation and deception.Taking the form of a sourcebook, this guide to Shakespeare's spirited play offers:extensive introductory comment on the contexts, critical history and performance of the text, from publication to the presentannotated extracts from key contextual documents, reviews, critical works and the text itselfcross-references between documents and sections of the guide, in order to suggest links between texts, contexts and criticismsuggestions for further reading.Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Twelfth Night and seeking not only a guide to the play, but a way through the wealth of contextual and critical material that surrounds Shakespeare's text.

William Shakespeare's Twelfth Night (c.1600) is one of his most captivating plays. A comedy of mistaken identities, it has given rise to thought-provoking debates around such issues as gender identity and role-playing, manipulation and deception.Taking the form of a sourcebook, this guide to Shakespeare's spirited play offers:extensive introductory comment on the contexts, critical history and performance of the text, from publication to the presentannotated extracts from key contextual documents, reviews, critical works and the text itselfcross-references between documents and sections of the guide, in order to suggest links between texts, contexts and criticismsuggestions for further reading.Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Twelfth Night and seeking not only a guide to the play, but a way through the wealth of contextual and critical material that surrounds Shakespeare's text.

Drawing on debates around the global/local dimensions of cultural production, an international team of contributors explore the appropriation of Shakespeare’s plays in film and performance around the world.In particular, the book examines the ways in which adapters and directors have put Shakespeare into dialogue with local traditions and contexts. The contributors look in turn at ‘local’ Shakespeares for local, national and international audiences, covering a range of English and foreign appropriations that challenge geographical and cultural oppositions between ‘centre’ and ‘periphery’, and ‘big-time’ and ‘small-time’ Shakespeares.Responding to a surge of critical interest in the poetics and politics of appropriation, World-Wide Shakespeares is a valuable resource for those interested in the afterlife of Shakespeare in film and performance globally.

Drawing on debates around the global/local dimensions of cultural production, an international team of contributors explore the appropriation of Shakespeare’s plays in film and performance around the world.In particular, the book examines the ways in which adapters and directors have put Shakespeare into dialogue with local traditions and contexts. The contributors look in turn at ‘local’ Shakespeares for local, national and international audiences, covering a range of English and foreign appropriations that challenge geographical and cultural oppositions between ‘centre’ and ‘periphery’, and ‘big-time’ and ‘small-time’ Shakespeares.Responding to a surge of critical interest in the poetics and politics of appropriation, World-Wide Shakespeares is a valuable resource for those interested in the afterlife of Shakespeare in film and performance globally.

Sonia Massai's central claim in this book is that the texts of early printed editions of Renaissance drama, including Shakespeare's, did not simply 'degenerate' or 'corrupt' over time, as subsequent editions were printed using the immediate predecessor as their basis. By focusing on early correctors of dramatic texts for the press, this book identifies a previously overlooked category of textual agents involved in the process of their transmission into print. Massai also challenges the common assumption that the first editor of Shakespeare was Nicholas Rowe, who published his edition of Shakespeare's Works in 1709. The study offers a 'prehistory' of editing from the rise of English drama in print at the beginning of the sixteenth century to the official rise of the editorial tradition of Shakespeare at the beginning of the eighteenth century.

The paratexts in early modern English playbooks - the materials to be found primarily in their preliminary pages and end matter - provide a rich source of information for scholars interested in Shakespeare, Renaissance drama and the history of the book. In addition, these materials offer valuable insights into the rise of dramatic authorship in print, early modern attitudes towards theatre, notorious literary wrangles and the production of drama both on the stage and in the printing house. This unique two-volume reference is the first to include all paratextual materials in early modern English playbooks, from the emergence of print drama to the closure of the theatres in 1642. The texts have been transcribed from their original versions and presented in old-spelling. With an introduction, user's guide, multiple indices and a finding list, the editors provide a comprehensive overview of seminal texts which have never before been fully transcribed, annotated and cross-referenced.

Sonia Massai's central claim in this book is that the texts of early printed editions of Renaissance drama, including Shakespeare's, did not simply 'degenerate' or 'corrupt' over time, as subsequent editions were printed using the immediate predecessor as their basis. By focusing on early correctors of dramatic texts for the press, this book identifies a previously overlooked category of textual agents involved in the process of their transmission into print. Massai also challenges the common assumption that the first editor of Shakespeare was Nicholas Rowe, who published his edition of Shakespeare's Works in 1709. The study offers a 'prehistory' of editing from the rise of English drama in print at the beginning of the sixteenth century to the official rise of the editorial tradition of Shakespeare at the beginning of the eighteenth century.

Shakespeare and Textual Studies gathers contributions from the leading specialists in the fields of manuscript and textual studies, book history, editing, and digital humanities to provide a comprehensive reassessment of how manuscript, print and digital practices have shaped the body of works that we now call 'Shakespeare'. This cutting-edge collection identifies the legacies of previous theories and places special emphasis on the most recent developments in the editing of Shakespeare since the 'turn to materialism' in the late twentieth century. Providing a wide-ranging overview of current approaches and debates, the book explores Shakespeare's poems and plays in light of new evidence, engaging scholars, editors, and book historians in conversations about the recovery of early composition and publication, and the ongoing appropriation and transmission of Shakespeare's works through new technologies.

Shakespeare and Textual Studies gathers contributions from the leading specialists in the fields of manuscript and textual studies, book history, editing, and digital humanities to provide a comprehensive reassessment of how manuscript, print and digital practices have shaped the body of works that we now call 'Shakespeare'. This cutting-edge collection identifies the legacies of previous theories and places special emphasis on the most recent developments in the editing of Shakespeare since the 'turn to materialism' in the late twentieth century. Providing a wide-ranging overview of current approaches and debates, the book explores Shakespeare's poems and plays in light of new evidence, engaging scholars, editors, and book historians in conversations about the recovery of early composition and publication, and the ongoing appropriation and transmission of Shakespeare's works through new technologies.

Voices and accents are increasingly perceived as central markers of identity in Shakespearean performance. This book presents a history of the reception of Shakespeare on the English stage with a focus on the vocal dimensions of theatrical performance. The chapters identify key moments when English accents have caused controversy, if not public outrage. Sonia Massai examines the cultural connotations associated with different accents and how accents have catalysed concerns about national, regional and social identities that are (re)constituted in and through Shakespearean performance. She argues that theatre makers and reformers, elocutionists and historical linguists, as well as directors, actors and producers have all had a major impact on how accents have evolved and changed on the Shakespearean stage over the last four hundred years. This fascinating book offers a rich historical survey alongside close performance analysis.

Voices and accents are increasingly perceived as central markers of identity in Shakespearean performance. This book presents a history of the reception of Shakespeare on the English stage with a focus on the vocal dimensions of theatrical performance. The chapters identify key moments when English accents have caused controversy, if not public outrage. Sonia Massai examines the cultural connotations associated with different accents and how accents have catalysed concerns about national, regional and social identities that are (re)constituted in and through Shakespearean performance. She argues that theatre makers and reformers, elocutionists and historical linguists, as well as directors, actors and producers have all had a major impact on how accents have evolved and changed on the Shakespearean stage over the last four hundred years. This fascinating book offers a rich historical survey alongside close performance analysis.

Presenting engaging, thought-provoking stories across centuries of military activity, this book demonstrates just how extensively Shakespeare's cultural capital has been deployed at times of national conflict. Drawing upon scholarly expertise in Shakespeare and War Studies, first-hand experience from public military figures and insights from world-renowned theatre directors, this is the first material history of how Shakespeare has been used in wartime. Addressing home fronts and battle fronts, the collection's broad chronological coverage encompasses the Seven Years' War, the American War of Independence, the Napoleonic Wars, the Russian War, the First and Second World Wars, and the Iraq War. Each chapter reveals an archival object that tells us something about who 'recruited' Shakespeare, what they did with him, and to what effect. Richly illustrated throughout, the collection uniquely uncovers the agendas that Shakespeare has been enlisted to support (and critique) at times of great national crisis and loss.

This book offers a wealth of resources, critical overviews and detailed analysis of Ivo van Hove’s internationally acclaimed work as the foremost director of theatre, opera and musicals in our time. Stunning production photos capture the power of van Hove’s directorial vision, his innovative use of theatrical spaces, and the arresting stage images that have made his productions so popular among audiences worldwide over the last 30 years. Van Hove’s own contribution to the book, which includes a foreword, interview and his director’s notes for some of his most popular shows, makes this book a unique resource for students, scholars and for his fans across the different art forms in which he works. An informative introduction provides an overview of van Hove’s unique approach to directing, while five sections, individually curated by experts in the respective fields of Shakespeare, classical theatre, modern theatre, opera, musicals, film, and international festival curatorship, offer readers a combination of critical insight and short excerpts by van Hove’s collaborators, the actors in the ensemble companies van Hove works with in Amsterdam and New York, and by arts critics and reviewers.

This book offers a wealth of resources, critical overviews and detailed analysis of Ivo van Hove’s internationally acclaimed work as the foremost director of theatre, opera and musicals in our time. Stunning production photos capture the power of van Hove’s directorial vision, his innovative use of theatrical spaces, and the arresting stage images that have made his productions so popular among audiences worldwide over the last 30 years. Van Hove’s own contribution to the book, which includes a foreword, interview and his director’s notes for some of his most popular shows, makes this book a unique resource for students, scholars and for his fans across the different art forms in which he works. An informative introduction provides an overview of van Hove’s unique approach to directing, while five sections, individually curated by experts in the respective fields of Shakespeare, classical theatre, modern theatre, opera, musicals, film, and international festival curatorship, offer readers a combination of critical insight and short excerpts by van Hove’s collaborators, the actors in the ensemble companies van Hove works with in Amsterdam and New York, and by arts critics and reviewers.

This collection brings together emerging and established scholars to explore fresh approaches to Shakespeare’s best-known play. Hamlet has often served as a testing ground for innovative readings and new approaches. Its unique textual history – surviving as it does in three substantially different early versions – means that it offers an especially complex and intriguing case-study for histories of early modern publishing and the relationship between page and stage. Similarly, its long history of stage and screen revival, creative appropriation and critical commentary offer rich materials for various forms of scholarship. The essays in Hamlet: The State of Play explore the play from a variety of different angles, drawing on contemporary approaches to gender, sexuality, race, the history of emotions, memory, visual and material cultures, performativity, theories and histories of place, and textual studies. They offer fresh approaches to literary and cultural analysis, offer accessible introductions to some current ways of exploring the relationship between the three early texts, and present analysis of some important recent responses to Hamlet on screen and stage, together with a set of approaches to the study of adaptation.

A fully modernised, annotated edition of 'Tis Pity She's a Whore, Ford's controversial tragedy of sibling incest and complex revenge plots. As with all Arden editions, detailed on-page commentary notes help the student understand and appreciate the play both in performance and as a many layered literary text.The lengthy, illustrated introduction offers a wealth of critical and contextual information about the play, and explores its theme of incest from an early modern perspective. Sonia Massai reveals the startling originality of the play, which is far more than a dark rewriting of Romeo and Juliet, and the reasons for its appeal to modern audiences.