By Barbara Hodgdon, W. B. Worthen

A significant other to Shakespeare and function presents a state of the art engagement with the swiftly constructing box of Shakespeare functionality reviews.

  • Redraws the limits of Shakespeare functionality stories.
  • Considers functionality in a number media, together with in print, within the lecture room, within the theatre, in movie, on tv and video, in multimedia and electronic types.
  • Introduces vital phrases and modern components of enquiry in Shakespeare and function.
  • Raises questions on the dynamic interaction among Shakespearean writing and the practices of up to date functionality and function reviews.
  • Written by means of a world workforce of significant students, academics, theatre makers.

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Extra info for A Companion to Shakespeare and Performance

Sample text

Lear’s impassioned ‘‘Reason not the need’’ rejoinder expresses his grief and rage over the economy he himself set in motion with the love test. It is here that the axis of the play tilts, and Lear begins to feel the insistent beating of his own breaking heart. As with Cordelia, he attempts to placate this breaking wound with the comforts of counting: You think I’ll weep; No, I’ll not weep: I have full cause of weeping; but this heart Shall break into a hundred thousand flaws, Or ere I’ll weep. O fool, I shall go mad!

2005 11:18pm 15 deception and disguise, when one has to seek licenses and find a paying audience. Inscribed within the architecture of both the original and reconstructed Globe is a profound ambivalence about the enclosures produced by theatrical architecture itself. Architecture attempts to fix space, to arrange material so that a particular place gains form, and from that form, meaning and aesthetic or utilitarian purpose. But at its best, theatre aspires to expose the formlessness lurking within and beyond the temporary contingencies of physical form – architectural, theatrical, and mortal.

This is another way of saying that love, and its inevitable misfires, have large consequences. 255–6) and it is from France that Cordelia finds a different perspective on the divisions within her father’s kingdom. The voluminous, although not entirely convincing, critical literature that reads King Lear as a comment on the Unionist doctrine of James I traces the over-determined similarities between James and Lear (Halpern 1991, Dodd 1999, Holbrook 2000), but it seems to me nonetheless that Lear is primarily a play about collapsing too swiftly the distinctive economies of love and property.

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