Academic journal article Comparative Drama

Kathryn M. Moncrief, Kathryn R. McPherson, and Sarah Enloe, Eds.: Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries

Academic journal article Comparative Drama

Kathryn M. Moncrief, Kathryn R. McPherson, and Sarah Enloe, Eds.: Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries

Article excerpt

Kathryn M. Moncrief, Kathryn R. McPherson, and Sarah Enloe, eds. Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries. Madison: Fairleigh Dickinson University Press, 2013. Pp. xv + 298. $85.00.

This volume begins with a list of illustrations (ix-x), acknowledgments (xi-xii), a foreword, "Lighting in a Bottle" by Ralph Alan Cohen (xiii-xv), and an introduction, "Players and Playhouses--Embodied, Expressed, Enacted" by Kathryn M. Moncrief and Kathryn R. McPherson (1-6). The primary text includes essays in five parts. Part 1, "The Body of the Actor," includes: Lezlie C. Cross, "Speaking in the Silence: Deaf Performance at the Oregon Shakespeare Festival" (7-18); Chelsea Phillips, "'I Have Given Suck': The Maternal Body in Sarah Siddons's Lady Macbeth" (19-34); Jemma Alix Levy, "Competing Heights in Shakespeare's As You Like It" (35-44); Brett Gamboa, "The Mirror and the Monarchs: Suggestive Presences and Shakespeare's Cast Size" (45-54); Miriam Gilbert, "Embodying Shakespeare: In the Classroom" (55-60). Part 2, "Playing the Text," includes: Chris Barrett, "Remember the Porter: Knock-Knock Jokes, Tragedy, and Other Unfunny Things" (61-72); Peter Kanelos, "Ghost in the Machine: Shakespeare, Stanislavski, and Original Practices," (73-80); Matthew Vadnais, "'Speake [ing] the speech [es]': Reassessing the Playability of the Earliest Printings of Hamlet" (81-92); Bill Gelber, "A 'Ha' in Shakespeare: The Soliloquy as Excuse and Challenge to the Audience" (93-100); Symmonie Preston, "A Knave to Know a Knock: Exploring Character Function in Scenic Structure" (101-06). Part 3, "Staging Choice" includes: Jennifer A. Low, "Behind Closed Doors: Perspective and Painterly Technique on the Early Modern English Stage" (10722); Sid Ray, "Shticky Shakespeare: Exploring Action as Eloquence" (123-34); Fiona Harris-Ramsby and Kathryn R. …

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