Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre

Cover......Page 1
Half-title......Page 3
Series-title......Page 6
Title......Page 7
Copyright......Page 8
Dedication......Page 9
Contents......Page 11
Preface......Page 13
Introduction: conjunctures and concepts......Page 17
1 Performance and authority in Hamlet (1603)......Page 34
2 A new agenda for authority......Page 45
The ‘‘low and ignorant’’ crust of corruption......Page 47
Towards a circulation of authority in the theatre......Page 52
Players, printers, preachers: distraction in authority......Page 59
3 Pen and voice: versions of doubleness......Page 70
‘‘Frivolous jestures’’ vs. matter of ‘‘worthiness’’ (Tamburlaine)......Page 72
Bifold authority in Troilus and Cressida......Page 78
‘‘Unworthy scaffold’’ for ‘‘so great an object’’ (Henry V)......Page 86
4 Playing with a difference......Page 95
To ‘‘disfigure, or to present’’ (A Midsummer Night’s Dream)......Page 96
To ‘‘descant’’ on difference and deformity (Richard III)......Page 104
The ‘‘self-resembled show’’......Page 114
Presentation, or the performant function......Page 118
5 Histories in Elizabethan performance......Page 125
Disparity in mid-Elizabethan theatre history......Page 126
Reforming ‘‘a whole theatre of others’’ (Hamlet)......Page 137
From common player to excellent actor......Page 147
Differentiation, exclusion, withdrawal......Page 152
6 Hamlet and the purposes of playing......Page 167
Renaissance writing and common playing......Page 169
Unworthy antics in the glass of fashion......Page 177
‘‘When in one line two crafts directly meet’’......Page 185
(Word)play and the mirror of representation......Page 190
7 Space (in)dividable: locus and platea revisited......Page 196
Space as symbolic form: the locus......Page 198
The open space: provenance and function......Page 208
Locus and platea in Macbeth......Page 212
Banqueting in Timon of Athens......Page 224
8 Shakespeare’s endings: commodious thresholds......Page 232
Epilogues vs. closure......Page 236
Ends of postponement: holiday into workaday......Page 242
Thresholds to memory and commodity......Page 250
Liminality: cultural authority ‘betwixt-and-between’......Page 256
Afterword: thresholds forever after......Page 262
INTRODUCTION: CONJUNCTURES AND CONCEPTS......Page 267
1 PERFORMANCE AND AUTHORITY IN HAMLET (1603)......Page 268
2 A NEW AGENDA FOR AUTHORITY......Page 270
3 PEN AND VOICE: VERSIONS OF DOUBLENESS......Page 272
4 PLAYING WITH A DIFFERENCE......Page 273
5 HISTORIES IN ELIZABETHAN PERFORMANCE......Page 275
6 HAMLET AND THE PURPOSES OF PLAYING......Page 278
7 SPACE (IN)DIVIDABLE: LOCUS AND PLATEA REVISITED......Page 279
8 SHAKESPEARE’S ENDINGS: COMMODIOUS THRESHOLDS......Page 282
AFTERWORD......Page 284
PRIMARY LITERATURE......Page 285
SECONDARY LITERATURE......Page 288
Index......Page 305