By William Shakespeare

"O mom, mom! What have you ever done?"

Eminent Shakespearean students Jonathan Bate and Eric Rasmussen offer a clean new version of this gripping political and private tragedy--along with greater than 100 pages of unique good points, including

• an unique creation to Coriolanus
• incisive scene-by-scene synopsis and research with very important evidence in regards to the work
• statement on previous and present productions according to interviews with prime administrators, actors, and designers
• images of key RSC productions
• an outline of Shakespeare's theatrical profession and chronology of his plays

Ideal for college kids, theater execs, and common readers, those glossy and available variants from the Royal Shakespeare corporation set a brand new general in Shakespearean literature for the twenty-first century.

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Additional info for Coriolanus (Modern Library Classics)

Sample text

From 1997 to 2002 he was Director of the Shakespeare Institute, Stratford-upon-Avon and Professor of Shakespeare Studies at the University of Birmingham. He is Editor of Shakespeare Survey, co-General Editor with Stanley Wells of Oxford Shakespeare Topics and with Adrian Poole of the eighteen-volume series Great Shakespeareans. Jonathan Hope is Professor of Literary Linguistics at Strathclyde University in Glasgow. He has published widely on Shakespeare's language, including The Authorship of Shakespeare's Plays (1996) and Shakespeare's Grammar (2003).

The four centuries between the Norman Conquest and the arrival of the Tudors, the period customarily bracketed off as the English Middle Ages, constituted a period of constant change, in thought and culture and politics and technology. Those centuries saw the founding of the universities, and of representative democracy in the form of Parliament; it saw English develop from ‘Old’ into ‘Early Modern’, with a major literature of its own along the way; it made possible the construction of buildings that were more glass than stone; it invented the mechanical clock and, with that, the commodification of time; it saw the introduction of paper (and an accompanying rise in bureaucracy), the expansion of trade, the invention of credit and international exchange and double-entry bookkeeping.

Her ‘From scaffold to discovery-space: change and continuity’ explores the hinterland of one distinctive Elizabethan feature of stage practice derived from this methodology of performance, the discovery-space, in terms of its possible precedents. Moving through medieval and early sixteenth-century examples to the stage feature known as the traverse, the paper considers, through a range of examples both verbal and pictorial, what lines of continuity there are between medieval and later staging, and in the course of that exploration comes to question some assumptions about the configuration of particular staging practices.

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