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Index
Contents
Acknowledgements
Foreword
Chapter 1: Introduction
Part I: The Body of the Actor
Chapter 2: Speaking in the Silence
Chapter 3: “I Have Given Suck”
Chapter 4: Competing Heights in Shakespeare’s As You Like It
Chapter 5: The Mirror and the Monarchs
Chapter 6: Embodying Shakespeare
Part II: Playing the Text
Chapter 7: Remember the Porter
Chapter 8: Ghost in the Machine
Chapter 9: “Speake[ing] the speech[es]”
Chapter 10: A “Ha” in Shakespeare
Chapter 11: A Knave to Know a Knock
Part III: Staging Choices
Chapter 12: Behind Closed Doors
Chapter 13: Shticky Shakespeare
Chapter 14: Seeing Ghosts
Chapter 15: “Remembrances of Yours”
Chapter 16: The Mirror of All Christian Kings
Chapter 17: Playing with Character–Audience Members in Early Modern Playhouses
Part IV: Playhouse and Playing Conditions
Chapter 18: Blackfriars Stage Sitters and the Staging of The Tempest, The Maid’s Tragedy, and The Two Noble Kinsmen
Chapter 19: “The Concourse of the People on the Stage”
Chapter 20: The Two Blackfriars Theatres
Chapter 21: “Here Sit We Down”
Chapter 22: Thomas Middleton’s Use of the Gallery Space
Chapter 23: Performing Space
Part V: Technical and Material Matters
Chapter 24: Heat and Light in the Playhouses
Chapter 25: Lighting Effects in the Early Modern Private Playhouses
Chapter 26: Sound Trumpets
Chapter 27: Play It Again, Hal
Chapter 28: Playing with Early Modern Special Effects
About the Contributors
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