Shakespeare, Memory and PerformancePeter Holland "Remember thee? Ay, thou poor ghost, while memory holds a seat." In this distracted globe. Hamlet's lines pun on the globe as both his skull and the Globe Theatre. But what does memory have to do with Shakespeare and performances past and present? This is the first collection of essays to provide a meeting between the flourishing fields of memory studies and Shakespeare performance studies. The chapters explore a wide range of topics, from the means by which editors of Shakespeare plays try to help their readers remember performance to the ways actors sometimes forget Shakespeare?s lines, from the evocative memories instilled in the archives of costumes to the photographing of props that act as memories of performances past. The fifteen contributors are leaders in the field of Shakespeare performance studies and their considerations of the possibilities of the subject open up a rich new vein in Shakespeare studies. |
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Contents
Section 1 | 23 |
Section 2 | 43 |
Section 3 | 63 |
Section 4 | 87 |
Section 5 | 117 |
Section 6 | 135 |
Section 7 | 136 |
Section 8 | 145 |
Section 17 | 178 |
Section 18 | 192 |
Section 19 | 193 |
Section 20 | 194 |
Section 21 | 201 |
Section 22 | 202 |
Section 23 | 204 |
Section 24 | 205 |
Section 9 | 148 |
Section 10 | 150 |
Section 11 | 152 |
Section 12 | 157 |
Section 13 | 158 |
Section 14 | 168 |
Section 15 | 171 |
Section 16 | 175 |
Section 25 | 207 |
Section 26 | 237 |
Section 27 | 244 |
Section 28 | 256 |
Section 29 | 281 |
Section 30 | 305 |
Section 31 | 329 |
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Common terms and phrases
action actors already archive audience become begins Bergner body Brooke called Cambridge character Company costume course critics cultural death Designer direct Director drama Dream early editing editors effect Elizabethan English event example experience feel figure film first forgetting give Greet grief Hamlet hand Henry human instance interpretation John kind King Lear Lady later less lines live London look loss Macbeth mark material means memory Michael moment move never object offers once opening original past performance perhaps Peter photograph play Players political possible practice present problem production reading record relation remains remember Richard role scene screen seems sense Shakespeare space speaking spectator speech stage story suggests tell theatre theatrical things turn University Press writing York