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This book discusses music used in Shakespeare productions during the 170-year period from the Restoration to about 1830, a time when Shakespeare's plots and poetry were updated to meet popular taste, as was the musical repertoire created to enhance the plays. Included are settings of Shakespeare's ...

This book discusses music used in Shakespeare productions during the 170-year period from the Restoration to about 1830, a time when Shakespeare's plots and poetry were updated to meet popular taste, as was the musical repertoire created to enhance the plays. Included are settings of Shakespeare's song lyrics, other original texts, and added non-Shakespearean texts, as well as incidental music, masques, operas, and afterpieces based on the plays. An appendix summarizes information about important productions and source materials in a series of charts cross-referenced to the extensive bibliography. Numerous musical examples illustrate the text, and scores of Shakespearean music by Arne, Boyce, Leveridge, Vernon, Weldon, and others are reprinted.

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 ...

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 if 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.