Tiffany Stern – författare

The bloodiest and brashest of Shakespeare’s plays, this revenge tragedy begins with war and ends in mutilation and cannibalism. Acts of war and sexual violence across borders and within families highlight the importance of empire, Blackness and gender, alongside the familial and literal blood which characterise early modern and contemporary performance.The Arden Shakespeare Fourth Series Titus Andronicus provides:- A critical introduction to the textual, cultural and performance history- An edition that is rooted in a Jacobean revival performance of the play- Detailed on-the-page notes explaining language, character and performance- A clear page layout with an easy-to-read font and single-column notes - Images of relevant productions, paintings and textsThe Arden Shakespeare Fourth Series includes a new edition of every Shakespeare play, the poems and sonnets. Each volume is edited afresh by a leading scholar specialising in cutting-edge research on performance, gender, sexuality and race. These editions cover everything you need to know as a student, teacher, researcher, theatre-maker or performer of Shakespeare’s works today.

Up until now, facts about theatrical rehearsal have been considered irrecoverable. But in this groundbreaking new study, Tiffany Stern gathers together two centuries' worth of historical material which shows how actors received and responded to their parts, and how rehearsal affected the creation and revision of plays. Plotting theatrical change over time, from the mid-sixteenth to the late eighteenth century, this book will revolutionize the fields of textual and theatre history alike.

Attention is often given to the performance of a text, but not to the shaping process behind that performance. The question of rehearsal is seldom confronted directly, though important textual moments - like revision - are often attributed to it. Whatismore, up until now, facts about theatrical rehearsal have been considered irrecoverable. In this groundbreaking new study, Tiffany Stern gathers together two centuries' worth of historical material which shows how actors received and responded to their parts, and how rehearsal affected the creation and revision of plays. This is the first history of the subject, from the sixteenth century to the eighteenth. It examines the nature and changing content of rehearsal, drawing on a mass of autobiographical, textual, and journalistic sources, and in so doing throws new light on textual revision and transforms accepted notions of Renaissance, Restoration, and eighteenth-century theatrical practice. Plotting theatrical change over time, this book will revolutionize the fields of textual and theatre history alike.

A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. It demanded the most sensitive attention to the opportunities inscribed in the script, and to the ongoing dramatic moment. Here is where the young actor Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam. This is the story of Shakespeare in Parts. As Shakespeare developed his playwriting, the apparent limitations of the medium get transformed into expressive opportunities. Both cue and speech become promise-crammed repositories of meaning and movement, and of individually discoverable space and time. Writing always for the same core group of players, Shakespeare could take - and insist upon - unprecedented risks. The result is onstage drama of astonishing immediacy. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's mould-altering work of historical and imaginative recovery provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.

A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. It demanded the most sensitive attention to the opportunities inscribed in the script, and to the ongoing dramatic moment. Here is where the young actor Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam. This is the story of Shakespeare in Parts. As Shakespeare developed his playwriting, the apparent limitations of the medium get transformed into expressive opportunities. Both cue and speech become promise-crammed repositories of meaning and movement, and of individually discoverable space and time. Writing always for the same core group of players, Shakespeare could take - and insist upon - unprecedented risks. The result is onstage drama of astonishing immediacy. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's mould-altering work of historical and imaginative recovery provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.

A sweeping revision that speaks to how English literature is taught today.From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

Making Shakespeare is a lively introduction to the major issues of the stage and print history, whilst also raising questions about what a Shakespeare play actually is. Tiffany Stern reveals how London, the theatre, the actors and the way in which the plays were written and printed all affect the 'Shakespeare' that we now read. Concentrating on the instability and fluidity of Shakespeare's texts, her book discusses what happened to a manuscript between its first composition, its performance on stage and its printing, and identifies traces of the production system in the plays we read. She argues that the versions of Shakespeare that have come down to us have inevitably been formed by the contexts from which they emerged; being shaped by, for example, the way actors received and responded to their lines, the props and music used in the theatre, or the continual revision of plays by the playhouses and printers. Allowing a fuller understanding of the texts we read and perform, Making Shakespeare is the perfect introduction to issues of stage and page. A refreshingly clear, accessible read, this book will allow even those with no expert knowledge to begin to contextualize Shakespeare's plays for themselves, in ways both old and new.

Making Shakespeare is a lively introduction to the major issues of the stage and print history, whilst also raising questions about what a Shakespeare play actually is. Tiffany Stern reveals how London, the theatre, the actors and the way in which the plays were written and printed all affect the 'Shakespeare' that we now read. Concentrating on the instability and fluidity of Shakespeare's texts, her book discusses what happened to a manuscript between its first composition, its performance on stage and its printing, and identifies traces of the production system in the plays we read. She argues that the versions of Shakespeare that have come down to us have inevitably been formed by the contexts from which they emerged; being shaped by, for example, the way actors received and responded to their lines, the props and music used in the theatre, or the continual revision of plays by the playhouses and printers. Allowing a fuller understanding of the texts we read and perform, Making Shakespeare is the perfect introduction to issues of stage and page. A refreshingly clear, accessible read, this book will allow even those with no expert knowledge to begin to contextualize Shakespeare's plays for themselves, in ways both old and new.

As well as 'play-makers' and 'poets', playwrights of the early modern period were known as 'play-patchers' because their texts were made from separate documents. This book is the first to consider all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls, backstage-plots and parts, it shows how textually distinct production was from any single unified book. And, as performance documents were easily lost, relegated or reused, the story of a play's patchy creation also becomes the story of its co-authorship, cuts, revisions and additions. Using a large body of fresh evidence, Documents of Performance in Early Modern England brings a wholly new reading to printed and manuscript playbooks of the Shakespearean period, redefining what a play, and what a playwright, actually is.

Both Sheridan and Goldsmith lamented the popularity of sentimental comedy in the later eighteenth century and wrote their witty and satirical plays (though never lascivious in the manner of Restoration comedies) to counteract the sentimental mode. The Rivals (1775) was a qualified success: the suave young officer who is 'forced' by his father to marry the very girl to whom he is secretly engaged must always please; but first audiences were as uncertain as later critics about how to evaluate his neurotic friend Faulkland, who invents a series of caveats for his marriage to the earnest Julia. A country squire who becomes alarmingly foppish in town, an impetuous Irishman and the linguistically challenged Mrs Malaprop complete the cast. This edition includes the original preface and several prologues; in an appendix it lists all the fashionable books and songs to which the characters allude.

This completely new edition of The Recruiting Officer contains a freshly-edited play text, with new annotations, in modern spelling. Tiffany Stern's comprehensive and engaging introduction discusses the author's career and gives a history of the play including its staging, critical interpretation, date and sources, putting it its context of the late Restoration and illuminating its theatrical vivacity.Farquhar's The Recruiting Officer is set in Shrewsbury in 1704 and describes what happens in a country town when the army come to stay. With cross-dressing and confusion in plenty, this is a comedy exploring the timeless themes of love and war. One of Farquhar's last two plays, The Recruiting Officer is both entertaining and touching. It has a light, humane touch and its original depiction of a real-life provincial town comically explores the impact that ongoing warfare had on its civilian society.

In 1778 Edmond Malone published his first contribution to Shakespeare scholarship, An Attempt to Ascertain the Order in which the Plays Attributed to Shakspeare were Written. He revised and republished it in 1790 and began a further revision of it which was printed posthumously in 1821. This Element will be on the three versions of Malone's Attempt and the way they created, shaped, focused, directed, and misdirected, our idea of the chronology and sequence of Shakespeare's plays. By showing Malone's impressive, fallible choices, adopted or adapted by later editors, it reveals how current Shakespeare editions are, in good and bad ways, Malonian at heart.

Playwrights, including Shakespeare, often started out as song writers and regularly product-placed ballads within their dramas. In this enlightening study, Tiffany Stern asks who wrote, financed, published and marketed theatrical broadsheet ballads and investigates the migrants, women, and individuals with disabilities who sung and sold them outside playhouses - in striking contrast to the white, able-bodied and male actors who performed inside. With case-studies ranging from ballads in plays by Shakespeare and Jonson, sung after plays as jigs or 'themes' by the clowns Tarlton, Kemp and Armin, and performed about the plays of Marlowe, Kyd, Shakespeare and others, Ballad Business argues that broadsheet ballads were often the first and sometimes only parts of the performance to be published. Advertisements and souvenirs, ballads constituted a crucial though now forgotten form of theatrical merchandise and musical paratext.

As well as 'play-makers' and 'poets', playwrights of the early modern period were known as 'play-patchers' because their texts were made from separate documents. This book is the first to consider all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls, backstage-plots and parts, it shows how textually distinct production was from any single unified book. And, as performance documents were easily lost, relegated or reused, the story of a play's patchy creation also becomes the story of its co-authorship, cuts, revisions and additions. Using a large body of fresh evidence, Documents of Performance in Early Modern England brings a wholly new reading to printed and manuscript playbooks of the Shakespearean period, redefining what a play, and what a playwright, actually is.

Performed at the Globe Theater in 1605, King Leir is presumed to be a prime source for Shakespeare. Although the story is the same, in this anonymous version the ending is happy. This is the first time this fascinating work is published in a single-play edition.

A sweeping revision that speaks to how English literature is taught today.From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Shorter Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

A sweeping revision that speaks to how English literature is taught today.From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Shorter Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

From the Middle Ages to the twenty-first century, The Norton Anthology of English Literature, Eleventh Edition, showcases exciting new authors, works, and textual clusters that demonstrate the relevance of literature to contemporary students and trace the creative arc that has yielded the ever-changing and ever-fascinating body of material called English literature. This anthology offers the experience of literature as part of the world—not apart from it. It is also now available in ebook format for the complete anthology. The Norton Ebook Reader platform provides an active reading environment that equips students with tools for placing works within their social and historical contexts.

King Richard III provides a portrait of Shakespeare’s most enduring arch-villain, a man who plots against his brothers, nephews, friends and the powerful women in his life, including Lady Anne, Queen Margaret and Queen Elizabeth. This influential history play almost displaces the original historical figure it represents as it traces Richard’s rise to the throne in 15th century England. Disability and masculine villainy characterise nearly all performances of Richard III, spotlighting early modern and contemporary prejudice about their equivalence. This edition challenges the centrality of Richard as absolute villain who casts all others in his shadow, making space for the formidable women who oppose him.Exploring overlooked sources of influence, from Tacitus to St Paul, witchcraft to racialisation, and the possibility of Queen Elizabeth I watching a courtly performance of Richard III, this edition highlights what endures and what transforms in a play about the ruthlessness of narcissistic despotism.The Arden Shakespeare Fourth Series King Richard III provides:- A critical introduction to the play's textual, cultural and performance history- An edition that reassesses the complex textual history of the Quarto and Folio texts- Detailed on-the-page notes explaining language, character and performance- A clear page layout with an easy-to-read font and single-column notes- Images of relevant productions, paintings and textsThe Arden Shakespeare Fourth Series includes a new edition of every Shakespeare play, the poems and sonnets. Each volume is edited afresh by a leading scholar specialising in cutting-edge research on performance, gender, sexuality and race. These editions cover everything you need to know as a student, teacher, researcher, theatre-maker and performer of Shakespeare’s works today.

King Richard III provides a portrait of Shakespeare’s most enduring arch-villain, a man who plots against his brothers, nephews, friends and the powerful women in his life, including Lady Anne, Queen Margaret and Queen Elizabeth. This influential history play almost displaces the original historical figure it represents as it traces Richard’s rise to the throne in 15th century England. Disability and masculine villainy characterise nearly all performances of Richard III, spotlighting early modern and contemporary prejudice about their equivalence. This edition challenges the centrality of Richard as absolute villain who casts all others in his shadow, making space for the formidable women who oppose him.Exploring overlooked sources of influence, from Tacitus to St Paul, witchcraft to racialisation, and the possibility of Queen Elizabeth I watching a courtly performance of Richard III, this edition highlights what endures and what transforms in a play about the ruthlessness of narcissistic despotism.The Arden Shakespeare Fourth Series King Richard III provides:- A critical introduction to the play's textual, cultural and performance history- An edition that reassesses the complex textual history of the Quarto and Folio texts- Detailed on-the-page notes explaining language, character and performance- A clear page layout with an easy-to-read font and single-column notes- Images of relevant productions, paintings and textsThe Arden Shakespeare Fourth Series includes a new edition of every Shakespeare play, the poems and sonnets. Each volume is edited afresh by a leading scholar specialising in cutting-edge research on performance, gender, sexuality and race. These editions cover everything you need to know as a student, teacher, researcher, theatre-maker and performer of Shakespeare’s works today.

This cutting-edge open access collection brings together major scholars of theatre and book history to explore the documents that constituted early modern plays before, during, and after performance.Rethinking Theatrical Documents brings together fifteen major scholars to analyse and theorise the documents, lost and found, that produced a play in Shakespeare’s England. Showing how the playhouse frantically generated paratexts, it explores a rich variety of entangled documents, some known and some unknown: from before the play (drafts, casting lists, actors’ parts); during the play (prologues, epilogues, title-boards); and after the play (playbooks, commonplace snippets, ballads) – though ‘before’, ‘during’ and ‘after’ intertwine in fascinating ways. By using collective intervention to rethink both theatre history and book history, it provides new ways of understanding plays critically, interpretatively, editorially, practically and textually.The ebook editions of this book are available open access under a CC BY-ND licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.

Shifting ideas of gender, sexuality and class status are explored in this romantic comedy which de-centres the heteronormative couple from its central dramatic plot as it pursues the solution of multiple marriages.In Illyria daughters grieve for their fathers and siblings, whilst Viola and Sebastian fear the worst in a shipwreck that tears them apart. Duke Orsino sends his new servant, Cesario, to woo the unwilling Olivia on his behalf, setting off a chain of mistaken identities and confused desires. This edition foregrounds the queer potentialities of Twelfth Night whilst exploring male friendship, madness, mourning and migration across the play’s different plots and afterlives.The Arden Shakespeare Fourth Series Twelfth Night provides:- A critical introduction to the play's textual, cultural and performance history- An edition rooted in the Folio text and the earliest known Middle Temple performance of Twelfth Night- Detailed on-the-page notes explaining language, character and performance- A clear page layout with an easy-to-read font and single-column notes- Images of relevant productions, paintings and texts

The bloodiest and brashest of Shakespeare’s plays, this revenge tragedy begins with war and ends in mutilation and cannibalism. Acts of war and sexual violence across borders and within families highlight the importance of empire, Blackness and gender, alongside the familial and literal blood which characterise early modern and contemporary performance.The Arden Shakespeare Fourth Series Titus Andronicus provides:- A critical introduction to the textual, cultural and performance history- An edition that is rooted in a Jacobean revival performance of the play- Detailed on-the-page notes explaining language, character and performance- A clear page layout with an easy-to-read font and single-column notes - Images of relevant productions, paintings and textsThe Arden Shakespeare Fourth Series includes a new edition of every Shakespeare play, the poems and sonnets. Each volume is edited afresh by a leading scholar specialising in cutting-edge research on performance, gender, sexuality and race. These editions cover everything you need to know as a student, teacher, researcher, theatre-maker or performer of Shakespeare’s works today.

Tyranny, imperialism and political authority define Shakespeare’s enduring dramatic depiction of ruling power and regime change in ancient Rome. A touchpoint for characterising tyrannical leaders throughout the world, Julius Caesar has told a cautionary tale of the uneasy relationship between political leaders and citizens from the time it was first performed up to the 21st century.The Arden Shakespeare Fourth Series Julius Caesar provides:- A critical introduction to the play's textual, cultural and performance history - An edition that is rooted in the first known performance of the play in London, 1599- Detailed on-the-page notes explaining language, character and performance - A clear page layout with an easy-to-read font and single-column notes - Images of relevant productions, paintings and textsThe Arden Shakespeare Fourth Series includes a new edition of every Shakespeare play, the poems and sonnets. Each volume is edited afresh by a leading scholar specialising in cutting-edge research on performance, gender, sexuality and race. These editions cover everything you need to know as a student, teacher, researcher, theatre-maker and performer of Shakespeare’s works today.

The world in which Shakespeare lived and wrote was a material one before it was a textual one – made up of people’s interactions with a wide variety of things. Shakespeare’s plays were first experienced as a rich mixture of objects, language, spaces and actors’ bodies. This accessible and fascinating book delves into the lives of 33 significant things through full-colour images and an easy-to-read analysis of their significance.Objects include beds and perfumes, doublets and torches, lutes, spurs, clocks and handkerchiefs, all explored in relation to social status, gender, race, economics and manufacture. Individually and together, they reveal the rich cultural and physical geography within which the playwright, his characters and audiences lived their lives. Shakespeare’s Objects asks who owned these things and how were they used? It considers the diverse reality of trade, exchange and conquest which meant some individuals in early modern England could encounter carpets from Turkey and China, dyes from the Americas and paper from Venice, alongside woods and fabrics from their local communities.Whether you are an actor thinking about how to use props, a student wanting to understand early modern drama, a theatrical designer considering a period setting, a museum professional wanting to understand the significance of objects in your care, or someone curious about objects from the past which are unfamiliar, you will find something useful in this essential guide to early modern things.

The world in which Shakespeare lived and wrote was a material one before it was a textual one – made up of people’s interactions with a wide variety of things. Shakespeare’s plays were first experienced as a rich mixture of objects, language, spaces and actors’ bodies. This accessible and fascinating book delves into the lives of 33 significant things through full-colour images and an easy-to-read analysis of their significance.Objects include beds and perfumes, doublets and torches, lutes, spurs, clocks and handkerchiefs, all explored in relation to social status, gender, race, economics and manufacture. Individually and together, they reveal the rich cultural and physical geography within which the playwright, his characters and audiences lived their lives. Shakespeare’s Objects asks who owned these things and how were they used? It considers the diverse reality of trade, exchange and conquest which meant some individuals in early modern England could encounter carpets from Turkey and China, dyes from the Americas and paper from Venice, alongside woods and fabrics from their local communities.Whether you are an actor thinking about how to use props, a student wanting to understand early modern drama, a theatrical designer considering a period setting, a museum professional wanting to understand the significance of objects in your care, or someone curious about objects from the past which are unfamiliar, you will find something useful in this essential guide to early modern things.

Shakespeare’s popular pastoral romance, As You Like It, features disguised lovers, exiled brothers, multiple marriage plots, a wrestling bout and the famous Forest of Arden. Friendships are formed and lovers are reunited in a play that explores the intersection of love, ‘play’ and deception. Rosalind’s unique performance of gender, both as herself and in disguise as Ganymede, provides the pivot on which the play turns, leading us into the magic of the forest where music, dancing and masques showcase the talents of the King’s Men company who performed As You Like It in the late Elizabethan period. From the lovers, Rosalind and Orlando, to Jaques, the melancholy cynic, and Touchstone, the sly jester, this joyous comedy contains well-loved characters who take on new resonances in a contemporary edition which explores the play’s rich global afterlives. The Arden Shakespeare Fourth Series As You Like It provides:- A critical introduction to the play's textual, cultural and performance history- An edition attuned to the late Elizabethan culture which produced the play- Detailed on-the-page notes explaining language, character and performance- A clear page layout with an easy-to-read font and single-column notes- Images of relevant productions, paintings and textsThe Arden Shakespeare Fourth Series includes a new edition of every Shakespeare play, the poems and sonnets. Each volume is edited afresh by a leading scholar specialising in cutting-edge research on performance, gender, sexuality and race. These editions cover everything you need to know as a student, teacher, researcher, theatre-maker and performer of Shakespeare’s works today.