Shakespeare in Parts

Shakespeare in Parts

by Simon Palfrey, Tiffany Stern
     
 

ISBN-10: 0199591105

ISBN-13: 9780199591107

Pub. Date: 02/04/2011

Publisher: Oxford University Press, USA

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

Overview

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. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's work provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.

Product Details

ISBN-13:
9780199591107
Publisher:
Oxford University Press, USA
Publication date:
02/04/2011
Edition description:
New Edition
Pages:
560
Product dimensions:
6.10(w) x 9.10(h) x 1.30(d)

Table of Contents

INTRODUCTION
I: HISTORY
1. The Actor's Part
2. The Actors
3. Rehearsing and Performing
II: INTERPRETING CUES
4. History of the Cue
5. Interpreting Shakespeare's Cues
6. Cues and Characterisation
7. Waiting and Suddenness: the Part in Time
8. Repeated Cues
9. Repeated cues: from Crowds to Clowns
10. Repeated cues: comi-tragic/tragic-comic pathos
11. Repeated cues and the battle for the cue-space: The Merchant of Venice
12. Repeated cues and tragedy
13. Repeated cues and the cue-space in King Lear
14. Repeated cues and post-tragic effects
15. Repeated Cues and the Cue-Space in The Tempest
III: THE ACTOR WITH HIS PART
16. History
17. Dramatic prosody
18. Prosodic Switches: From Actor's Prompt to Absent Presence
19. Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence
20. Case studies: six romantic heroines and three lonely men

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