The space of performance dictates what can occur within it. A proscenium stage as opposed to a thrust stage or black-and-white film as opposed to color film conditions what a Shakespeare script can communicate to an audience. The productions and their accommodation to their medium that this book treats in detail include television productions such as the Shaw-Warner Richard II, the Caird Henry IV, the Hytner Twelfth Night, the Eyre King Lear, and the second season of the Animated Shakespeare Series, as well as films such as the British Film Institute’s silent film production, the Hoffman A Midsummer-Night’s Dream, the Almereyda Hamlet, the Branagh Hamlet, the Taymor Titus, and the Branagh Love’s Labour’s Lost.
About the Author
The Author: H. R. Coursen has published fifteen books on Shakespeare, ten novels, and twenty-seven books of poetry. He teaches at the University of Maine (Augusta).