A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeareperformance studies. Essays by major scholars,teachers, and professional theatre makersconsider the many sites at whichShakespearean drama is performed: in print,in the classroom, in the theatre, in film,on television and video, in multimedia and digital forms, and as part of a globalized and intercultural performance economy.

List of Illustrations

Notes on Contributors

Acknowledgments

Introduction: A Kind of History: Barbara Hodgdon (University of Michigan, Ann Arbor)

Part Ⅰ: Overviews: Terms of Performance

1. Reconstructing Love: King Lear and Theatre Architecture: Peggy Phelan(Stanford University)

2. Shakespeare's Two Bodies: Peter Holland (University of Notre Dame)

3. Ragging Twelfth Night 1602, 1996, 2002-3: Bruce R. Smith (University of Southern California)

4. On Location: Robert Shaughnessy (University of Kent)

5. Where is Hamlet? Text, Performance, and Adaptation: Margaret Jane Kidnie (University of Western Ontario)

6. Shakespeare and the Possibilities of Postcolonial Performance: Ania Loomba (University of Pennsylvania)

Part Ⅱ: Materialities: Writing and Performance

7. The Imaginary Text, or, The Curse of the Folio: Anthony B. Dawson (University of British Columbia)

8. Shakespeare Screen/Play: Laurie E. Osborne (Colby College)

9. What does the Cued Part Cue? Parts and Cues in Romeo and Juliet: Simon Palfrey (University of Liverpool) and Tiffany Stern (author)

10. Editors in Love? Performing Desire in Romeo and Juliet: Wendy Wall (Northwestern University)

11. Prefixing the Author: Print, Plays, and Performance: W. B. Worthen (University of California, Berkeley)

Part Ⅲ: Histories

12. Shakespeare the Victorian: Richard Schoch (University of London)

13. Shakespeare Goes Slumming: Harlem '37 and Birmingham '97: Kathleen McLuskie (Shakespeare Institute, Stratford upon Avon)

14. Stanislavski, Othello, and the Motives of Eloquence: John Gillies (University of Essex)

15. Shakespeare, Henry VI, and the Festival of Britain: Stuart Hampton-Reeves (University of Central Lancashire)

16. Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival: Ric Knowles (University of Guelph)

17. Performance as Deflection: Miriam Gilbert (University of Iowa)

18. Maverick Shakespeare: Carol Chillington Rutter (University of Warwick)

19. Inheriting the Globe: The Reception of Shakespearian Space and Audience in Contemporary Reviewing: Paul Prescott (actor and author)

20. Performing History: Henry IV, Money, and the Fashion of the Times: Diana E. Henderson (MIT)

Part Ⅳ: Performance Technologies, Cultural Technologies

21. "Are We Being Theatrical Yet?": Actors, Editors, and the Possibilities of Dialogue: Michael Cordner (University of York)

22. Shakespeare on the Record: Douglas Lanier (University of New Hampshire)

23. Sshockspeare: (Nazi) Shakespeare Goes Heil-lywood: Richard Burt (University of Florida)

24. Game Space/Tragic Space: Julie Taymor's Titus: Peter S. Donaldson (MIT)

25. Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture: Elizabeth A. Deitchman (University of California)

26. Shakespeare on Vacation: Susan Bennett (University of Calgary)

Part Ⅴ: Identities of Performance

27. Visions of Color: Spectacle, Spectators, and the Performance of Race: Margo Hendricks (University of California, Santa Cruz)

28. Shakespeare and the Fiction of the Intercultural: Yong Li Lan

29. Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe: G. B. Shand (York University, Canada)

30. Queering the Audience: All-Male Casts in Recent Shakespeare Productions: James C. Bulman (Allegheny College)

31. A Thousand Shakespeares: From Cinematic Saga to Feminist Geography; or, The Escape from Iceland: Courtney Lehmann (University of the Pacific)

32. Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions: Joanne Tompkins (University of Queensland)

Part Ⅵ: Performing Pedagogies

33. Teaching through Performance: James N. Loehlin (University of Texas, Austin)

34. "The eye of man hath not heard,/The ear of man hath not seen": Teaching Tools for Speaking Shakespeare: Peter Lichtenfels (University of California, Davis)

Index