Shakespeare Expressed (eBook)

Kathyrn M. Moncrief is professor and chair of English at Washington College. Kathryn R. McPherson is professor of English at Utah Valley University. Sarah Enloe is the Director of Education at the American Shakespeare Center.

Foreword: Lightning in a BottleRalph Alan Cohen Chapter 1: Introduction: Shakespeare Embodied, Expressed, and EnactedKathryn Moncrief and Kathryn McPherson: I. The Body of the Actor Chapter 2: Speaking in the Silence: Deaf Performance at the Oregon Shakespeare FestivalLezlie CrossChapter 3: “I Have Given Suck:” The Maternal Body in Sarah Siddons' Lady MacbethChelsea PhillipsChapter 4: Competing HeightsJemma Alix LevyChapter 5: The Mirror and the Monarchs: Suggestive Presences and Shakespeare’s Cast-Size Brett GamboaChapter 6: Embodying Shakespeare: In the ClassroomMiriam GilbertII. Playing the TextChapter 7: Remember the Porter: Knock-Knock Jokes, Tragedy, and Other Unfunny Things Chris BarrettChapter 8: Ghost in the Machine: Shakespeare, Stanislavski and Original PracticesPeter KanelosChapter 9: “Speake[ing] the speech[es]:” Reassessing the Playability of the Earliest Printings of HamletMatthew VadnaisChapter 10: A “Ha” in Shakespeare: The Soliloquy as Excuse and Challenge to the Audience Bill GelberChapter 11: A Knave to Know a Knock: Exploring Character Function in Scenic StructureSymmonie PrestonIII. Staging Choices Chapter 12: Behind Closed Doors: Perspective and Painterly Technique on the Early Modern English StageJennifer Low Chapter 13: Shticky Shakespeare: Exploring Action as Eloquence Sid RayChapter 14: Seeing Ghosts: Hamlet and Modern Original PracticesFiona Harris-Ramsby & Kathryn McPherson Chapter 15: Remembrances of yours’: Properties, Performance, and Memory in Shakespeare’s Hamlet 3.1Kathryn MoncriefChapter 16: The Mirror of All Christian Kings: Choral Medievalism in the Henry V FolioChristina GutierrezChapter 17: Playing with Character-Audience Members in Early Modern PlayhousesSarah EnloeIV. Playhouse and Playing ConditionsChapter 18: Blackfriars Stage-Sitters and the Staging of The Tempest, The Maid’s Tragedy and The Two Noble KinsmenLeslie ThomsonChapter 19: “The Concourse of People on the Stage”: An Alternative Proposal for Onstage Seating at the Second BlackfriarsNova MyhillChapter 20: The Two Blackfriars Theatres: Discontinuity or Contiguity? Jeanne McCarthyChapter 21: “Here sit we down…”: The Location of Andrea and Revenge in The Spanish TragedyAnnalisa CastaldoChapter 22: Thomas Middleton’s Use of the Gallery Space Christine ParkerChapter 23: Performing Space: Playing the ArchitectureDoreen BechtolV. Technical and Material Matters Chapter 24: Light and Heat in the Playhouses Ann Jennalie CookChapter 25: Lighting Effects in the Early Modern Private PlayhousesLauren ShellChapter 26: Sound Trumpets Alisha HuberChapter 27: Play it again, Hal: The 1605 Revival of Henry V Melissa Aaron Chapter 28: Playing with Early Modern Special EffectsCass Morris