Bøker i Shakespeare in Production-serien

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of King Henry V, Shakespeare's most celebrated war play, Andrew Gurr has added a new section to his introduction in which he considers recent criticism and important contemporary productions of the play. Concentrating in particular on 'secret' versus 'official' readings of the work, he analyses Shakespeare's double vision of Henry as both military hero and self-seeking individual, and shows how the patriotic declarations of the Chorus are contradicted by the play's dramatic action. Controversial sequences are placed in the context of Elizabethan thought while the exceptional variety of language and dialect in the text is also studied. An updated reading list completes the edition.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This is the third New Cambridge edition of The Taming of the Shrew, one of Shakespeare's most popular yet controversial plays. Ann Thompson considers its reception in the light of the hostility and embarrassment that the play often arouses, taking account of both scholarly defences and modern feminist criticism. For this version the editor pays lively attention to the problematic nature of debates about the play and its reception in the twenty-first century. She discusses recent editions and textual, performance and critical studies.

Troilus and Cressida, long considered one of Shakespeare's most problematic plays, is both difficult and fascinating. Largely neglected during the eighteenth and nineteenth centuries it has recently proved popular and rewarding on the stage as well as in the study. This edition questions certain received ideas about the play's text, especially the relationship between quarto and folio and offers several new readings of old problems. Dawson's textual choices are often surprising but at the same time carefully grounded. He views the play from a performance perspective - both in the commentary as well as in the detailed section on stage history in the introduction. The introduction also covers the cultural context in which the play was written, probes the controversy about its early performance and provides extensive analysis of character, language, genre and contemporary significance.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Macbeth provides a thorough reconsideration of one of Shakespeare's most popular plays. In his introduction, A. R. Braunmuller explores Macbeth's immediate theatrical and political contexts, particularly the Gunpowder Plot, and addresses such celebrated questions as: do the Witches compel Macbeth to murder; is Lady Macbeth herself in some sense a witch; is Macduff morally culpable? A new and well-illustrated account of the play in performance examines several cinematic versions, such as those by Kurosawa and Roman Polanski, as well as other dramatic adaptations. Several possible new sources are suggested and the presence of Thomas Middleton's writing in the play is also proposed.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Much Ado About Nothing retains the text and introduction prepared by F. H. Mares and features a new section by Angela Stock on recent film, stage and critical interpretations of the play. Mares pays special attention in the Introduction to the range of theatrical interpretations that have flourished since the first documented production of the play in the early seventeenth century. In particular, he explores notable performances of the roles of Benedick and Beatrice, from David Garrick to John Gielgud, and Peggy Ashcroft to Judi Dench. The commentary explicates the many sexual jokes in the text that are obscured by the complexity of Elizabethan English.

This edition tells the story of Hamlet in production, from Burbage at the Globe to Branagh on film, relating stage interpretations to developments in the theatre, literary criticism and society. The introduction focuses on whole productions of the play including supporting players and, in this century, direction and design.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of A Midsummer Night's Dream retains R. A. Foakes' text and has been extensively updated by him. In the Introduction to what is widely acknowledged as Shakespeare's most popular comedy, Foakes describes the two main traditions in the play's stage history, one emphasising charm and innocence, the other stressing darker suggestions of violence and sexuality. He shows that both are necessary to a full understanding of the play. For this edition the editor has added a new account of important theatrical productions and scholarly criticism on the play that have appeared in recent years. The reading list has also been revised and updated.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of The Tempest, David Lindley has thoroughly revised the Introduction to take account of the latest developments in criticism and performance. He has also added a completely new section on casting in recent productions of the play. The complex questions this new section raises about colonisation, racial and gender stereotypes and the nature of theatrical experience are explored throughout the introduction. Careful attention is paid to dramatic form, stagecraft, and the use of music and spectacle in The Tempest, a play that is widely regarded as one of Shakespeare's most elusive and suggestive. A revised and updated reading list completes the edition.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of The Merchant of Venice retains the text and Introduction prepared by M. M. Mahood and features a new introductory section by Charles Edelman. Where Mahood focuses in her Introduction on the expectations of the play's first audience and on our modern experience of seeing and hearing the drama performed, Edelman explores the play's sexual politics. He also foregrounds recent scholarship on the position of Jews in Shakespeare's time and surveys the international scope and diversity of theatrical interpretations of the text in the 1980s and 1990s. He pays particular attention to the ways in which directors and actors tackle the troubling figure of Shylock.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Othello retains the text and Introduction prepared by Norman Sanders and features a new section by Scott McMillin on recent scholarship and key performances of the play since the 1980s. Building on the full and well-illustrated stage history compiled by Sanders, McMillin focuses on political, feminist and postcolonial treatments of Othello in various parts of the world and discusses important performances on stage, film and television. Sanders' discussion of the stylistic and racial problems facing modern readers and spectators is complemented by McMillin who explores the influence of new historicism and cultural materialism and the issue of black/white casting of the main characters.

As You Like It has sometimes seemed a subversive play that exposes the instability of gender roles and traditional values. In other eras it has been prized - or derided - as a reliable celebration of conventional social mores. The play's ability to encompass these extremes tells an interesting story about changing cultural and theatrical practices. This edition provides a detailed history of the play in production, both on stage and on screen. The introduction examines how changing conceptions of gender roles have affected the portrayal of Rosalind, one of Shakespeare's greatest comic heroines. The striking differences between the British tradition and the freer treatment the play has received abroad are discussed, as well as the politics of court versus country. The commentary, printed alongside the New Cambridge Shakespeare edition of the text, draws on primary sources to illuminate how costuming, stage business, design, and directorial choices have shaped the play in performance.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Romeo and Juliet retains the text prepared by G. Blakemore Evans, together with his introduction and detailed textual notes. A thorough stage history features illustrations and photographs of notable performances from the eighteenth century onwards while a lucid commentary alerts the reader to the difficulties of language, thought and staging. For this second edition, Thomas Moisan has added a new introductory section which focuses on recent scholarly criticism and contemporary productions of the play. The reading list has also been revised and updated.

For four centuries Twelfth Night has inspired theatre directors and performers. Surveying a dazzling range of Twelfth Night productions - including many significant productions which have not received due critical attention previously - Schafer provides the reader with an indispensable stage history of this popular play, from its first performance to today.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of Antony and Cleopatra, David Bevington has included in his introductory section a thorough consideration of recent critical and stage interpretations, demonstrating how the theatrical design and imagination of this play make it one of Shakespeare's most remarkable tragedies. The edition is attentive throughout to the play as theatre: a detailed, illustrated account of the stage history is followed, in the commentary, by discussion of staging options offered by the text. The commentary is especially full and helpful, untangling many obscure words and phrases, illuminating sexual puns, and alerting the reader to Shakespeare's shaping of his source material in Plutarch's Lives.