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dress. It was not until centuries after his death, primarily the 19th
Century, that productions started looking back and tried to be "authentic" to a Shakespearean style. The Victorian era had a fascination with historical accuracy and this was adapted to the stage in order to appeal to the educated middle class. Charles Kean was particularly interested in historical context and spent many hours researching historical dress and setting for his productions. This faux-Shakespearean style was fixed until the 20th century. As of the twenty-first century, there are very few productions of Shakespeare, both on stage and on film, which are still performed in "authentic" period dress, while as late as 1990, virtually every true film version of a Shakespeare play was performed in correct period costume.
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630:) for over a century, arose from a profoundly different sense of morality in society and of the role that theatre and art should play within that society. Tate's versions of Shakespeare see the responsibility of theatre as a transformative agent for positive change by holding a moral mirror up to our baser instincts. Tate's versions of what we now consider some of the Bard's greatest works dominated the stage throughout the 18th century precisely because the Ages of Enlightenment and Reason found Shakespeare's "tragic vision" immoral, and his tragic works unstageable. Tate is seldom performed today, though in 1985, the
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827:: "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match." Apparently no incongruity was perceived in having Barry and Garrick, in their late thirties, play adolescent Romeo one season and geriatric King Lear the next. 18th century notions of verisimilitude did not usually require an actor to be physically appropriate for a role, a fact epitomized by a 1744 production of
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663:. The result is a snapshot of Restoration comic tastes. Beatrice and Benedick are brought in to parallel Claudio and Hero; the emphasis throughout is on witty conversation, and Shakespeare's thematic focus on lust is steadily downplayed. The play ends with three marriages: Benedick's to Beatrice, Claudio's to Hero, and Isabella's to an Angelo whose attempt on Isabella's virtue was a ploy. Davenant wrote many of the bridging scenes and recast much of Shakespeare's verse as
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961:(1847–1928). To be a star of the legitimate drama came to mean being first and foremost a "great Shakespeare actor", with a famous interpretation of, for men, Hamlet, and for women, Lady Macbeth, and especially with a striking delivery of the great soliloquies. The acme of spectacle, star, and soliloquy of Shakespeare performance came with the reign of actor-manager Henry Irving and his co-star Ellen Terry in their elaborately staged productions, often with orchestral
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717:, but as theater professionals. Unlike Beaumont and Fletcher, whose "plays are now the most pleasant and frequent entertainments of the stage", according to Dryden in 1668, "two of theirs being acted through the year for one of Shakespeare's or Jonson's", Shakespeare appeared to them to have become dated. Yet almost universally, they saw him as worth updating. Though most of these revised pieces failed on stage, many remained current on stage for decades;
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413:. Little is certainly known about acting styles. Critics praised the best actors for their naturalness. Scorn was heaped on ranters and on those who "tore a passion to tatters", as Hamlet has it. Also with Hamlet, playwrights complain of clowns who improvise on stage (modern critics often blame Kemp in particular in this regard). In the older tradition of comedy which reached its apex with
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342:. A theatrical cannon, set off during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving documents of the event, no one was hurt except a man who put out his burning breeches with a bottle of ale. The event pinpoints the date of a Shakespeare play with rare precision. Sir
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and the stars, at the expense of pace and action. Performances were further slowed by the need for frequent pauses to change the scenery, creating a perceived need for even more cuts in order to keep performance length within tolerable limits; it became a generally accepted maxim that
Shakespeare's
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played Lear from a shortened and rearranged version of
Shakespeare's text. "Twas my good fortune", Tate said, "to light on one expedient to rectify what was wanting in the regularity and probability of the tale, which was to run through the whole a love betwixt Edgar and Cordelia that never changed
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was not fanciful; the city government's hostility meant that performances were officially limited to that length of time. Though it is not known how seriously companies took such injunctions, it seems likely either that plays were performed at near-breakneck speed or that the play-texts now extant
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from a period shortly after
Shakespeare's death. Shakespeare's performances were originally performed in contemporary dress. Actors were costumed in clothes that they might wear off the stage. This continued into the 18th century, the Georgian period, where costumes were the current fashionable
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revolution touched acting as it touched all the arts. At the same time, actors and producers began to return to
Shakespeare's texts, slowly weeding out the Restoration revisions. Finally, by the end of the century Shakespeare's plays had been established as part of the repertory outside of Great
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influence. Craig defined space with simple flats: monochrome canvases stretched on wooden frames, which were hinged together to be self-supporting. Though the construction of these flats was not original, its application to
Shakespeare was completely new. The flats could be aligned in many
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remains famous as an example of an ill-conceived adaptation arising from insensitivity to
Shakespeare's tragic vision. Tate's genius was not in language – many of his interpolated lines don't even scan – but in structure; his Lear begins brilliantly with the Edmund the Bastard's first
688:; their work featured a sister for Miranda, a man, Hippolito, who has never seen a woman, and another paired marriage at the end. It also featured many songs, a spectacular shipwreck scene, and a masque of flying cupids. Other of Shakespeare's works given operatic treatment included
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attention-grabbing speech, and ends with Lear's heroic saving of
Cordelia in the prison and a restoration of justice to the throne. Tate's worldview, and that of the theatrical world that embraced (and demanded) his "happy ending" versions of the Bard's tragic works (such as
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the next year) and still commanded audiences. This occasion was a striking example of the growing prominence of
Shakespeare stars in the theatrical culture, the big attraction being the competition and rivalry between the male leads at Covent Garden and Drury Lane,
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recalling, "Let but
Falstaff come, Hal, Poins, the rest ... and you scarce shall have a room". When the landlord of the Theatre announced that he would not renew the company's lease, they pulled the playhouse down and used the timbers to construct the
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Cahiers Elisabéthains: A Biannual Journal of English Renaissance Studies, Special Issue 2007: The Royal Shakespeare Company Complete Works Festival, 2006–2007, Stratford-upon-Avon, Edited by Peter J. Smith and Janice Valls-Russell with Kath
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308:, for example, Jupiter descends "in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees." Plays produced at the indoor theater presumably also made greater use of sound effects and music.
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335:(Sierra Leone, 30 September 1607). For a time after its discovery, the fragment was suspected of being a forgery, but is now generally accepted as genuine. These are the first recorded amateur performances of any Shakespeare plays.
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from 1878 to 1902. At the same time, a revolutionary return to the roots of Shakespeare's original texts, and to the platform stage, absence of scenery, and fluid scene changes of the Elizabethan theatre, was being effected by
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plays were too long to be performed without substantial cuts. The platform, or apron, stage, on which actors of the 17th century would come forward for audience contact, was gone, and the actors stayed permanently behind the
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were replaced by actresses. The audiences of comparatively expensive indoor theaters were richer, better educated, and more homogeneous than the diverse, often unruly crowds at the Globe. Davenant's company began at the
725:, for example, seems to have driven Shakespeare's original from the stage between 1680 and 1744. It was in large part the revised Shakespeare that took the lead place in the repertory in the early 18th century, while
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reveals that it had been acted by three different companies. After the plagues of 1592–93, Shakespeare's plays were performed by the Lord Chamberlain's Men, a new company of which Shakespeare was a founding member, at
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of the Lord Chamberlain's Men. However, neighborhood protests kept Burbage from using the theater for the Lord Chamberlain's Men performances for a number of years. After the Lord Chamberlain's Men were renamed the
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Less is known about other features of staging and production. Stage props seem to have been minimal, although costuming was as elaborate as was feasible. The "two hours' traffic" mentioned in the prologue to
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The 18th century witnessed three major changes in the production of Shakespeare's plays. In England, the development of the star system transformed both acting and production; at the end of the century, the
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More than 420 feature-length film versions of Shakespeare's plays have been produced since the early 20th century, making Shakespeare the most filmed author ever. Some of the film adaptations, especially
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organised a Shakespeare jubilee in Frankfurt in 1771, stating that the dramatist had shown that the Aristotelian unities were "as oppressive as a prison" and were "burdensome fetters on our imagination".
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comments before he proceeded to tear down (i.e., deconstruct) the scenery. Even after press coverage, some audience members still fled from the performance, thinking they were witnessing a real assault.
609:, a modified version of Shakespeare's original tragedy with a happy ending. According to Stanley Wells, Tate's version "supplanted Shakespeare's play in every performance given from 1681 to 1838," when
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recorded that the play "was set forth with many extraordinary circumstances of pomp and ceremony". The theatre was rebuilt but, like all the other theatres in London, the Globe was closed down by the
868:". This claim that Shakespeare's work breaks through all creative boundaries to reveal a chaotic, teeming, contradictory world became characteristic of Romantic criticism, later being expressed by
284:. Performance records are patchy, but it is known that the King's Men performed seven of Shakespeare's plays at court between 1 November 1604 and 31 October 1605, including two performances of
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and other plays, of uncertain provenance, but certainly quite old. But it was not until after the middle of the next century that Shakespeare appeared regularly on German stages. In Germany
504:. The licensing system prevailed for two centuries; from 1660 to 1843, only two main companies regularly presented Shakespeare in London. Davenant, who had known early-Stuart actors such as
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reports that the King's Men initially included some Caroline actors; however, the forced break of the Interregnum divided both companies from the past. Restoration actors performed on
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Theatres and theatrical scenery became ever more elaborate in the 19th century, and the acting editions used were progressively cut and restructured to emphasize more and more the
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was one spectacular example. Such elaborate scenery for the frequently changing locations in Shakespeare's plays often led to a loss of pace. Towards the end of the 19th century,
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run by an evil king thoroughly controlled by African magic. Initially hostile, the black community took to the production thoroughly, ensuring full houses for ten weeks at the
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configurations and provided a technique of simulating architectural or abstract lithic structures out of supplies and methods common to any theater in Europe or the Americas.
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of 1737, one fourth of the plays performed were by Shakespeare, and on at least two occasions rival London playhouses staged the very same Shakespeare play at the same time (
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Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in
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In the 18th century, Shakespeare dominated the London stage, while Shakespeare productions turned increasingly into the creation of star turns for star actors. After the
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in 2006–2007, which staged productions of all of Shakespeare's plays and poems. The second is the World Shakespeare Festival in 2012, which is part of the London 2012
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The Globe, like London's other open-roofed public theatres, employed a thrust-stage, covered by a cloth canopy. A two-storey facade at the rear of the stage hid the
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For centuries there had been an accepted style of how Shakespeare was to be performed which was erroneously labeled "Elizabethan" but actually reflected a trend of
417:, clowns, often the main draw of a troupe, were responsible for creating comic by-play. By the Jacobean era, that type of humor had been supplanted by verbal wit.
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productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in
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However ill-guided such revisions may seem now, they made sense to the period's dramatists and audiences. The dramatists approached Shakespeare not as
124:, Shakespeare's plays were performed in playhouses, with elaborate scenery, and staged with music, dancing, thunder, lightning, wave machines, and
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likewise proclaimed that reading Shakespeare's work opens "leaves from the book of events, of providence, of the world, blowing in the
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movies marketed to teenage audiences, use his plots rather than his dialogue, while others are simply filmed versions of his plays.
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and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today.
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and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today.
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in modern dress. These productions paved the way for the modern-dress Shakespearean productions that we are familiar with today.
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have been staged since the end of the 16th century. While Shakespeare was alive, many of his greatest plays were performed by the
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The troupe for which Shakespeare wrote his earliest plays is not known with certainty; the title page of the 1594 edition of
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during the winter and the Globe during the summer. The indoor setting, combined with the Jacobean vogue for lavishly staged
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rulers. While denied the use of the stage, costumes and scenery, actors still managed to ply their trade by performing "
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one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including
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Through the 19th century, a roll call of legendary actors' names all but drown out the plays in which they appear:
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back into Shakespeare. It was not the first modern-dress production since there were a few minor examples before
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Other notable productions of the 20th century that follow this trend of relocating Shakespeare's plays are
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rewrote some of Shakespeare's plays to suit the tastes of the day, which favoured the courtly comedy of
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1819:. James Ogden and Arthur Hawley Scouten (eds.). New Jersey: Fairleigh Dickinson University Press, 127.
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was one spectacular example. Too often, the result was a loss of pace. Towards the end of the century,
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in the UK has produced two major Shakespeare festivals in the twenty-first century. The first was the
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and, through windows near the top of the facade, opportunities for balcony scenes such as the one in
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was costumed in evening dress for the wager, the court was in military uniforms, and the disguised
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2349:"Phyllida Lloyd Reveals Challenges of Bringing All-Female 'Taming of the Shrew' to Central Park"
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edited by James Ogden and Arthur Hawley Scouten, Fairleigh Dickinson Univ Press, 1997, p. 127.
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A final feature of Restoration stagecraft impacted productions of Shakespeare. The taste for
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that the exiles had developed in France made its mark on Shakespeare as well. Davenant and
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1650:. A.R. Braunmuller and Michael Hattaway (eds.). Cambridge: Cambridge University Press, 6.
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Restoration writers obliged them by adapting Shakespeare's plays freely. Writers such as
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1059:"Shakespeare in plus-fours". The experiment was moderately successful, and the director,
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Some of Shakespeare's work was performed in continental Europe even during his lifetime;
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Ringler, William Jr. (1997)."Shakespeare and His Actors: Some Remarks on King Lear". In
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in 1660, Shakespeare's plays were divided between the two newly licensed companies: the
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The other main theatre where Shakespeare's original plays were performed was the second
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Renaissance Revivals: City Comedy and Revenge Tragedy in the London Theatre, 1576–1980.
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led a reaction against this heavy style. In a series of "Elizabethan" productions on a
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led a reaction against this heavy style. In a series of "Elizabethan" productions on a
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2467:. Balz Engler and Ledina Lambert, eds. Newark, DE: University of Delaware Press, 2004.
1565:. William Shakespeare. Cambridge: Cambridge University Press; Introduction, 2, 38–39.
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Perhaps a more typical example of the purpose of Restoration revisions is Davenant's
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On the whole, though, innovation was the order of the day for Restoration companies.
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in knickerbockers and cap. It was for this production that critics invented the
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at Stratford in 1769. He freely adapted Shakespeare's work, however, saying of
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The Plays of William Shakespeare at 420 scenes and characters from several of
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On 29 June 1613, the Globe Theatre went up in flames during a performance of
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Janespotting and Beyond: British Heritage Retrovisions Since the Mid-1990s
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has continually staged all-female cast versions of Shakespeare in London.
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Looking at Shakespeare: A Visual History of Twentieth-Century Performance
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Britain: not only in the United States but in many European countries.
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The 20th century also saw a multiplicity of visual interpretations of
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the King's Men (as the company was then known) took possession of the
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Shakespeare's plays continued to be staged after his death until the
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Shakespeare's plays continued to be staged after his death until the
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Casting Shakespeare's Plays; London actors and their roles 1590–1642
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English Drama of the Restoration and Eighteenth Century (1642–1780)
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Letter to Sir William Young, 10 January 1773. Quoted by Uglow, 473.
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stages, often in the evening, between six and nine. Set-design and
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in 1603, they entered a special relationship with the new court of
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was the first to call attention to the device in a blatant way.
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Jackson, Russell. "Shakespeare at Stratford-upon-Avon, 1994–5."
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broadwayworld.com. 4 February 2009. Retrieved 18 February 2009.
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company have taken all-male cast productions around the world.
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by Dennis Kennedy, Cambridge University Press, 2001, pp. 1–3.
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Shakespeare and Modern Theatre: The Performance of Modernity.
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Evening of Poetry, Music, and the Spoken Word on 12 May 2009.
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became more elaborate and variable. Perhaps most noticeably,
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Passing Strange: Shakespeare, Race, and Contemporary America
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Glick, Claris. "William Poel: His Theories and Influence."
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Edmond Malone, Shakespearean Scholar: A Literary Biography
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The Critical and Miscellaneous Prose Works of John Dryden
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The Critical and Miscellaneous Prose Works of John Dryden
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Pfister, Manfred. "Shakespeare and the European Canon."
1869:. New Jersey: Fairleigh Dickinson University Press, 50.
77:(who played the title role in the first performances of
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by William Shakespeare, Simon and Schuster, 2004, p. xl
73:. Among the actors of these original performances were
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Alt-englisches Theater oder Supplemente zum Shakspear
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directed quarto and folio texts with few cuts, while
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directed quarto and folio texts with few cuts, while
2373:, Bantam Books, 358; Voigts-Virchow, Eckart (2004),
2272:"Jude Law to play Hamlet at 'home' Kronborg Castle."
1648:
The Cambridge Companion to English Renaissance Drama
2465:
Shifting the Scene: Shakespeare in European Culture
1557:
1555:
2297:
2288:Theatre programme, Everyman Cheltenham, June 2009.
1943:Shakespeare Survey 55: King Lear and its Afterlife
1098:, as Welles changed the setting to a 19th-century
296:. After 1608, the troupe performed at the indoor
3655:
2346:
2250:. 10 September 2007. Retrieved 19 November 2007.
1591:London; New York: Routledge; Introduction, 5–6.
1587:Bristol, Michael, and Kathleen McLuskie (eds.).
1552:
855:compared Shakespeare to German folk literature.
2408:. Edmond Malone, editor. London: Baldwin, 1800.
2149:
1937:. Quoted by Peter Womack (2002). "Secularizing
2472:Beaumont and Fletcher on the Restoration Stage
2094:See, for example, the 19th century playwright
1533:
1531:
1402:List of William Shakespeare screen adaptations
2519:
2032:. Cambridge: Cambridge University Press, 27.
1817:Lear from Study to Stage: Essays in Criticism
1497:Lear from Study to Stage: Essays in Criticism
921:, further separated from the audience by the
353:The actors in Shakespeare's company included
2237:
1675:. New Haven, CT: Yale University Press, 7.
1583:
1581:
1476:. New Haven, CT: Yale University Press, 7.
3466:
1887:Chicago: University of Chicago Press, 115.
1695:. Cambridge, MA: Harvard University Press.
1528:
819:between 1747 and 1776, and he held a great
651:, a 1662 comedy combining the main plot of
27:Performances of William Shakespeare's plays
2526:
2512:
1867:Restoration Shakespeare: Viewing the Voice
1781:Baltimore, Penguin, 1964; pp. 262, 426–27.
1541:. New York: Cornell University Press, 64.
160:Performances during Shakespeare's lifetime
1758:
1756:
1754:
1578:
1094:cast. The production became known as the
1080:to direct a groundbreaking production of
1941:: Shakespeare, Tate and the Sacred." In
1395:
887:
750:
614:words with each other in the original".
566:
424:
421:Interregnum and Restoration performances
216:
198:. The Globe opened in autumn 1599, with
31:
2533:
2446:. New York: Simon & Schuster, 1972.
2279:. 10 July 2009. Retrieved 14 July 2009.
2154:. Oxford University Press. p. 79.
14:
3656:
2392:Shakespeare's Editors and Commentators
2298:Michael Billington (10 January 2012).
2245:"Jude Law to Star in Donmar's Hamlet."
1751:
1740:. London: Penguin; Introduction, xli.
1646:(1990). "Playhouses and Players". In
1150:of 1994 costumed in the manner of the
838:
3278:Complete Works of William Shakespeare
2507:
904:divides the actors from the audience.
685:The Tempest, or The Enchanted Island
3638:
2496:Shakespeare at the National Theatre
1989:, ed. (London: Baldwin, 1800): 101.
1414:
1237:'s Act I, scene III monologue from
1123:of 1928 set on the battlefields of
634:mounted a successful production of
256:were cut for performance, or both.
24:
3453:Shakespeare's influence on Tolkien
1779:A Shakespeare Companion 1564–1964.
1765:Who's Who in Shakespeare's England
1561:Griffiths, Trevor R (ed.) (1996).
1279:Problems playing these files? See
1186:
1013:in 1911 was groundbreaking in its
25:
3675:
2488:
2434:University of Massachusetts Press
2399:Victor Hugo: A Memoir and a Study
2394:. London: J. Russell Smith, 1865.
2371:The Guinness Book of Records 1999
1369:from 25 to 30 August 2009 and on
710:(by way of an elaborate masque.)
3637:
3628:
3627:
2981:
2474:. New York: Benjamin Blom, 1954.
2347:Katie Van-Syckle (24 May 2016).
2138:Shakespeare on the English Stage
2114:Foggerty's Fairy and Other Tales
2011:. London: Faber and Faber, 398.
1693:Shakespearean Staging, 1599–1642
1261:
1213:
311:A fragment of the naval captain
2384:
2363:
2340:
2318:
2291:
2282:
2265:
2253:
2211:
2201:
2177:
2168:
2143:
2128:
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2088:
2079:
2070:
2061:
2052:
2043:
2022:
2001:
1992:
1969:
1956:
1927:
1918:
1898:
1859:
1850:
1841:
1830:
1809:
1796:
1784:
1771:
1736:• Holland, Peter (ed.) (2000).
1728:
1719:
1706:
1663:
1637:
1179:
981:
883:
847:pointed out German versions of
732:
536:, then moved to the theater at
3458:Works titled after Shakespeare
1628:
1615:
1602:
1509:, Cambridge University Press.
1489:
1464:
1451:
475:(the gravedigger's scene from
13:
1:
3618:Shakespeare and other authors
2401:. Edinburgh: Blackwood, 1885.
1964:Riverside Shakespeare Company
1539:Shakespeare Among the Moderns
1294:Complete Works (RSC festival)
1110:success and a national tour.
632:Riverside Shakespeare Company
540:, and finally settled in the
263:, an indoor theatre built by
50:Thousands of performances of
3664:Plays by William Shakespeare
3500:Shakespeare Birthplace Trust
2390:Arrowsmith, William Robson.
1763:Alan & Veronica Palmer,
756:David Garrick as Richard III
729:'s share steadily declined.
601:neo-classical rules of drama
7:
3306:English Renaissance theatre
3149:The Second Maiden's Tragedy
3128:The Merry Devil of Edmonton
2660:The Two Gentlemen of Verona
1427:
986:In the early 20th century,
872:in the preface to his play
433:(1662), showing theatrical
401:, who played roles such as
325:, 5 September 1607, and at
10:
3680:
3474:Folger Shakespeare Library
3020:The Phoenix and the Turtle
2610:The Merry Wives of Windsor
2460:. London: Macmillan, 1914.
2140:, 1900–1064. London, 1964.
1933:From Tate's dedication to
1865:Murray, Barbara A (2001).
1399:
746:
3612:
3523:
3493:Royal Shakespeare Theatre
3488:Royal Shakespeare Company
3395:
3252:
3223:
3052:
3043:
2990:
2979:
2911:
2883:
2774:
2684:
2617:A Midsummer Night's Dream
2561:All's Well That Ends Well
2550:
2541:
2456:Nettleton, George Henry.
2377:, Gunter Narr Verlag, 92.
2101:Unappreciated Shakespeare
1978:Essay of Dramatick Poesie
1563:A Midsummer Night's Dream
1517:(Paperback edition 2009,
1459:A Midsummer Night's Dream
1321:in the title role at the
1290:Royal Shakespeare Company
1169:Royal Shakespeare Theatre
1063:, two years later staged
976:Elizabethan Stage Society
691:A Midsummer Night's Dream
603:. In 1681, Tate provided
468:A Midsummer Night's Dream
2631:Pericles, Prince of Tyre
2300:"Julius Caesar – review"
2150:Ayanna Thompson (2011).
2106:16 December 2008 at the
1935:The History of King Lear
1671:• Nagler, A.M. (1958).
1444:
766:. Tent scene before the
637:The History of King Lear
611:William Charles Macready
606:The History of King Lear
441:in the lower left corner
65:acting companies at the
2639:The Taming of the Shrew
1913:Oxford University Press
1768:. Retrieved 29 May 2015
1472:• Nagler, A.M (1958).
1302:Globe to Globe Festival
1164:The Taming of the Shrew
1078:Federal Theatre Project
988:Harley Granville-Barker
721:'s Roman adaptation of
534:Salisbury Court Theatre
150:Harley Granville-Barker
3321:Lord Chamberlain's Men
3232:The Passionate Pilgrim
3005:comparison to Petrarch
2624:Much Ado About Nothing
2603:The Merchant of Venice
2028:Martin, Peter (1995).
1907:, "Introduction" from
1191:
1106:and prompting a small
1025:'s 1923 production of
967:Lyceum Theatre, London
925:(see image at right).
905:
771:
660:Much Ado About Nothing
649:The Law Against Lovers
642:The Shakespeare Center
580:
442:
395:Much Ado About Nothing
329:, 31 March 1608), and
286:The Merchant of Venice
226:
59:Lord Chamberlain's Men
47:
3511:Shakespeare Institute
3480:Shakespeare Quarterly
2999:Shakespeare's sonnets
2667:The Two Noble Kinsmen
2451:Shakespeare Quarterly
2444:Run-through: A Memoir
2423:Shakespeare Quarterly
2007:Uglow, Jenny (1997).
1836:Chambers, Vol 1: 341.
1396:Shakespeare on screen
1190:
1167:was performed at the
1136:of 1937 based on the
1023:Barry Vincent Jackson
892:The Theatre Royal at
891:
754:
727:Beaumont and Fletcher
570:
560:; for comedy, to the
548:before settling into
546:Gibbon's Tennis Court
544:. Killigrew began at
542:Dorset Garden Theatre
428:
220:
52:William Shakespeare's
35:
3367:Spelling of his name
3207:Vortigern and Rowena
3185:Thomas Lord Cromwell
2765:Troilus and Cressida
2695:Antony and Cleopatra
2589:Love's Labour's Lost
2575:The Comedy of Errors
2430:Shakespeare in Sable
2328:. St Ann's Warehouse
1457:Editor's Preface to
1357:, Alex Waldmann and
931:Antony and Cleopatra
538:Lincoln's Inn Fields
137:Antony and Cleopatra
71:Blackfriars Theatres
18:Shakespearian acting
3591:Richard Shakespeare
3573:Gilbert Shakespeare
3505:Shakespeare's Globe
3410:Authorship question
3405:Attribution studies
3372:Stratford-upon-Avon
3214:A Yorkshire Tragedy
3192:Thomas of Woodstock
3178:The Spanish Tragedy
3119:Love's Labour's Won
3111:The London Prodigal
3068:The Birth of Merlin
3027:The Rape of Lucrece
3013:A Lover's Complaint
2893:Quarto publications
2596:Measure for Measure
2535:William Shakespeare
2369:Young, Mark (ed.).
2225:on 28 November 2011
1673:Shakespeare's Stage
1474:Shakespeare's Stage
1329:. He was joined by
1325:West End season at
1306:Year of Shakespeare
1229:The American actor
992:Edward Gordon Craig
839:Elsewhere in Europe
821:Shakespeare Jubilee
803:, in roles such as
707:Measure for Measure
654:Measure for Measure
298:Blackfriars Theatre
294:Blackfriars Theatre
261:Blackfriars Theatre
154:Edward Gordon Craig
122:English Restoration
43:William Shakespeare
3585:Edmund Shakespeare
3543:Hamnet Shakespeare
3440:Screen adaptations
3163:Sir John Oldcastle
3061:Arden of Faversham
1838:• Shapiro, 247–49.
1804:Oxford Shakespeare
1791:Globe Theatre Fire
1714:Oxford Shakespeare
1689:Thomas J. King Jr.
1685:• Shapiro, 131–32.
1660:• Shapiro, 125–31.
1623:Oxford Shakespeare
1610:Oxford Shakespeare
1503:Thomas J. King Jr.
1486:• Shapiro, 131–32.
1375:Broadhurst Theatre
1271:Audio only version
1192:
951:John Philip Kemble
906:
817:Drury Lane Theatre
772:
768:Battle of Bosworth
764:Walker Art Gallery
581:
571:Restoration actor
552:'s new theatre in
443:
321:(off the coast of
227:
120:rulers. After the
48:
37:Sir John Gilbert's
3651:
3650:
3555:Elizabeth Barnard
3519:
3518:
3248:
3247:
2977:
2976:
2675:The Winter's Tale
1298:Cultural Olympiad
1266:
1224:
1152:French Revolution
1104:Lafayette Theatre
1076:was hired by the
957:(1838–1905), and
833:Theophilus Cibber
562:comedy of manners
459:Bottom the Weaver
16:(Redirected from
3671:
3641:
3640:
3631:
3630:
3579:Joan Shakespeare
3561:John Shakespeare
3464:
3463:
3445:Shakespeare and
3156:Sejanus His Fall
3123:
3083:Double Falsehood
3050:
3049:
3034:Venus and Adonis
2985:
2758:Titus Andronicus
2744:Romeo and Juliet
2548:
2547:
2528:
2521:
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2505:
2504:
2397:Cappon, Edward.
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2280:
2276:The Daily Mirror
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1575:• Halpern, 64.
1559:
1550:
1537:Halpern (1997).
1535:
1526:
1493:
1487:
1468:
1462:
1455:
1415:Dress and design
1323:Donmar Warehouse
1268:
1267:
1231:James Earl Jones
1226:
1225:
1209:
1208:
1204:
1189:
1144:, and Thacker's
1092:African American
963:incidental music
900:is gone and the
829:Romeo and Juliet
799:. In the 1740s,
781:Romeo and Juliet
723:Romeo and Juliet
657:with subplot of
628:Romeo and Juliet
585:William Davenant
573:Thomas Betterton
550:Christopher Wren
502:William Davenant
494:Thomas Killigrew
473:The Grave-makers
429:Frontispiece to
409:and the fool in
387:Romeo and Juliet
253:Romeo and Juliet
235:Romeo and Juliet
166:Titus Andronicus
21:
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3557:(granddaughter)
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3391:
3357:Religious views
3335:Curtain Theatre
3256:
3244:
3219:
3170:Sir Thomas More
3116:
3090:Edmund Ironside
3039:
2986:
2973:
2947:Ghost character
2907:
2879:
2770:
2751:Timon of Athens
2680:
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2484:. Berlin, 1811.
2412:Düntzer, J.H.J.
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2108:Wayback Machine
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886:
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801:Charles Macklin
760:William Hogarth
749:
735:
697:The Fairy-Queen
682:into an opera,
665:heroic couplets
465:'s scenes from
423:
415:Richard Tarlton
355:Richard Burbage
313:William Keeling
269:Richard Burbage
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75:Richard Burbage
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2885:Early editions
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2489:External links
2487:
2486:
2485:
2475:
2470:Sprague, A.C.
2468:
2461:
2454:
2447:
2440:Houseman, John
2437:
2428:Hill, Erroll.
2426:
2419:
2416:Life of Goethe
2409:
2404:Dryden, John.
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1926:
1917:
1915:, 2000, p. 63.
1897:
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1847:Nettleton, 16.
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1687:• King, T.J. (
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1400:Main article:
1397:
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1390:Phyllida Lloyd
1343:John MacMillan
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1159:deconstructive
1096:Voodoo Macbeth
1033:Birmingham Rep
1007:'s design for
983:
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898:platform stage
885:
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793:Spranger Barry
748:
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702:Charles Gildon
490:King's Company
422:
419:
407:As You Like It
221:Reconstructed
187:Leonard Digges
161:
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103:Richard Cowley
26:
9:
6:
4:
3:
2:
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3603:Thomas Quiney
3601:
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3593:(grandfather)
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3336:
3333:
3331:
3328:
3327:
3326:
3322:
3319:
3317:
3314:
3312:
3311:Globe Theatre
3309:
3307:
3304:
3302:
3299:
3297:
3294:
3292:
3289:
3285:
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2943:
2940:
2938:
2935:
2934:
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2930:
2927:
2925:
2924:Late romances
2922:
2920:
2919:Problem plays
2917:
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2910:
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2739:
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2734:
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2731:
2727:
2725:
2724:
2720:
2718:
2717:
2716:Julius Caesar
2713:
2711:
2710:
2706:
2704:
2703:
2699:
2697:
2696:
2692:
2691:
2689:
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2677:
2676:
2672:
2669:
2668:
2664:
2662:
2661:
2657:
2655:
2654:
2653:Twelfth Night
2650:
2648:
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2641:
2640:
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2522:
2517:
2515:
2510:
2509:
2506:
2499:
2497:
2493:
2492:
2483:
2479:
2478:Tieck, Ludwig
2476:
2473:
2469:
2466:
2462:
2459:
2455:
2452:
2448:
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2441:
2438:
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2256:
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2246:
2240:
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2204:
2197:
2192:
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2180:
2171:
2163:
2161:9780195385854
2157:
2153:
2146:
2139:
2136:
2131:
2122:
2116:
2115:
2110:
2109:
2105:
2102:
2097:
2096:W. S. Gilbert
2091:
2082:
2076:Düntzer, 111.
2073:
2064:
2055:
2046:
2039:
2038:0-521-46030-1
2035:
2031:
2025:
2018:
2017:0-571-19376-5
2014:
2010:
2004:
1998:Sprague, 121.
1995:
1988:
1987:Edmond Malone
1984:
1980:
1979:
1972:
1965:
1959:
1952:
1951:0-521-81587-8
1948:
1944:
1940:
1936:
1930:
1924:Wells, p. 69.
1921:
1914:
1910:
1906:
1905:Stanley Wells
1901:
1894:
1893:0-226-30923-1
1890:
1886:
1882:
1876:
1875:0-8386-3918-6
1872:
1868:
1862:
1853:
1844:
1833:
1826:
1825:0-8386-3690-X
1822:
1818:
1812:
1805:
1799:
1792:
1787:
1780:
1774:
1767:
1766:
1759:
1757:
1755:
1747:
1746:0-14-071472-3
1743:
1739:
1734:Ackroyd, 454.
1731:
1722:
1715:
1709:
1702:
1701:0-674-80490-2
1698:
1694:
1690:
1682:
1681:0-300-02689-7
1678:
1674:
1666:
1657:
1656:0-521-38662-4
1653:
1649:
1645:
1640:
1631:
1624:
1618:
1611:
1605:
1598:
1597:0-415-21984-1
1594:
1590:
1584:
1582:
1572:
1571:0-521-57565-6
1568:
1564:
1558:
1556:
1548:
1547:0-8014-8418-9
1544:
1540:
1534:
1532:
1524:
1523:0-521-10721-0
1520:
1516:
1515:0-521-32785-7
1512:
1508:
1504:
1498:
1492:
1483:
1482:0-300-02689-7
1479:
1475:
1467:
1460:
1454:
1450:
1440:
1439:Globe Theatre
1437:
1435:
1432:
1431:
1425:
1422:
1412:
1410:
1403:
1393:
1391:
1387:
1382:
1380:
1376:
1372:
1368:
1364:
1360:
1356:
1352:
1348:
1344:
1340:
1336:
1332:
1328:
1324:
1320:
1316:
1315:
1311:In May 2009,
1309:
1307:
1303:
1299:
1295:
1291:
1284:
1282:
1258:
1249:
1245:
1244:
1240:
1239:Shakespeare's
1236:
1232:
1199:
1177:
1174:
1170:
1166:
1165:
1160:
1155:
1153:
1149:
1148:
1143:
1139:
1135:
1134:
1133:Julius Caesar
1130:
1126:
1122:
1121:
1116:
1111:
1109:
1105:
1101:
1097:
1093:
1089:
1085:
1084:
1079:
1075:
1070:
1068:
1067:
1062:
1058:
1054:
1050:
1046:
1042:
1038:
1034:
1030:
1029:
1024:
1019:
1016:
1012:
1011:
1006:
1002:
1000:
995:
993:
989:
979:
977:
973:
968:
964:
960:
956:
953:(1757–1823),
952:
949:(1755–1831),
948:
947:Sarah Siddons
943:
941:
937:
933:
932:
926:
924:
920:
916:
911:
903:
902:orchestra pit
899:
896:in 1813. The
895:
890:
881:
879:
875:
871:
867:
866:sands of time
863:
858:
854:
850:
846:
836:
834:
830:
826:
822:
818:
814:
813:David Garrick
810:
806:
802:
798:
797:David Garrick
794:
789:
788:
783:
782:
777:
776:Licensing Act
769:
765:
761:
757:
753:
744:
741:
730:
728:
724:
720:
716:
711:
709:
708:
703:
700:in 1692) and
699:
698:
693:
692:
687:
686:
681:
677:
673:
668:
666:
662:
661:
656:
655:
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629:
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615:
612:
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602:
598:
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586:
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574:
569:
565:
563:
559:
555:
551:
547:
543:
539:
535:
530:
526:
522:
518:
513:
511:
510:Joseph Taylor
507:
503:
499:
495:
491:
487:
482:
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479:
474:
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452:
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408:
404:
400:
396:
392:
388:
384:
380:
376:
372:
368:
367:John Heminges
364:
363:Henry Condell
360:
356:
351:
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341:
336:
334:
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328:
324:
320:
319:
314:
309:
307:
303:
299:
295:
291:
287:
283:
279:
274:
270:
266:
265:James Burbage
262:
257:
254:
248:
246:
242:
241:
236:
232:
224:
223:Globe theatre
219:
215:
213:
209:
205:
201:
200:Julius Caesar
197:
193:
192:Globe Theatre
188:
184:
180:
176:
172:
167:
157:
155:
151:
147:
143:
139:
138:
133:
129:
127:
123:
119:
115:
110:
108:
107:William Kempe
104:
100:
99:
94:
93:
88:
87:
82:
81:
76:
72:
68:
64:
60:
56:
53:
46:
44:
38:
34:
30:
19:
3605:(son-in-law)
3599:(son-in-law)
3537:Susanna Hall
3478:
3467:Institutions
3446:
3291:Coat of arms
3284:Translations
3276:
3272:Bibliography
3239:To the Queen
3237:
3230:
3212:
3205:
3197:
3190:
3183:
3176:
3168:
3161:
3154:
3147:
3140:
3133:
3126:
3117:
3109:
3102:
3095:
3088:
3081:
3073:
3066:
3059:
3032:
3025:
3018:
3011:
2997:
2959:Performances
2958:
2903:Second Folio
2871:
2864:
2855:
2848:
2840:
2833:
2826:
2817:
2810:
2805:
2798:
2790:
2783:
2763:
2756:
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2742:
2735:
2728:
2721:
2714:
2707:
2700:
2693:
2673:
2665:
2658:
2651:
2644:
2637:
2629:
2622:
2615:
2608:
2601:
2594:
2587:
2580:
2573:
2566:
2559:
2495:
2481:
2471:
2464:
2457:
2450:
2443:
2429:
2422:
2415:
2405:
2398:
2391:
2385:Bibliography
2374:
2370:
2365:
2353:. Retrieved
2342:
2330:. Retrieved
2320:
2308:. Retrieved
2304:The Guardian
2303:
2293:
2284:
2274:
2267:
2255:
2247:
2239:
2227:. Retrieved
2223:the original
2213:
2203:
2195:
2183:Jackson 345.
2179:
2170:
2151:
2145:
2137:
2135:Trewin, J.C.
2130:
2121:
2112:
2099:
2090:
2081:
2072:
2063:
2058:Tieck, xiii.
2054:
2045:
2029:
2024:
2008:
2003:
1994:
1982:
1976:
1971:
1958:
1942:
1938:
1934:
1929:
1920:
1908:
1900:
1884:
1866:
1861:
1852:
1843:
1832:
1816:
1811:
1803:
1798:
1786:
1778:
1773:
1764:
1737:
1730:
1721:
1713:
1708:
1692:
1672:
1665:
1647:
1644:Foakes, R.A.
1639:
1634:Shapiro, 16.
1630:
1622:
1617:
1609:
1604:
1588:
1562:
1538:
1506:
1496:
1491:
1473:
1466:
1458:
1453:
1418:
1405:
1383:
1317:opened with
1312:
1310:
1287:
1278:
1241:
1180:21st century
1162:
1156:
1145:
1131:
1118:
1112:
1090:with an all
1081:
1074:Orson Welles
1071:
1064:
1057:catch phrase
1044:
1037:modern dress
1026:
1020:
1008:
1005:Gordon Craig
1003:
996:
985:
982:20th century
972:William Poel
955:Henry Irving
944:
940:thrust stage
936:William Poel
929:
927:
907:
884:19th century
873:
848:
845:Ludwig Tieck
842:
828:
824:
785:
784:in 1755 and
779:
773:
755:
736:
733:18th century
722:
719:Thomas Otway
712:
705:
695:
689:
683:
679:
669:
658:
652:
648:
646:
635:
627:
623:
618:
616:
604:
582:
558:heroic drama
514:
483:
476:
472:
466:
458:
444:
430:
410:
406:
399:Robert Armin
394:
386:
382:
378:
374:
370:
352:
344:Henry Wotton
339:
337:
330:
323:Sierra Leone
316:
310:
305:
285:
267:, father of
258:
252:
249:
244:
238:
234:
231:tiring house
228:
211:
207:
203:
199:
182:
165:
163:
146:thrust stage
142:William Poel
135:
130:
111:
96:
90:
84:
78:
49:
40:
29:
3643:WikiProject
3330:The Theatre
3316:Handwriting
3142:The Puritan
2933:Characters
2898:First Folio
2866:Richard III
2646:The Tempest
2498:, 1967–2012
2432:. Amherst:
2085:Cappon, 65.
2067:Pfister 49.
1725:Foakes, 33.
1501:King,T.J. (
1248:White House
1161:version of
1157:In 1978, a
1140:rallies at
1125:World War I
1115:H.K. Ayliff
1061:H.K. Ayliff
1041:World War I
999:Shakespeare
959:Ellen Terry
915:fourth wall
910:soliloquies
870:Victor Hugo
715:bardolators
680:The Tempest
676:John Dryden
529:boy players
517:John Downes
486:Restoration
447:Interregnum
371:Richard III
240:The Tempest
171:The Theatre
114:Interregnum
92:Richard III
3567:Mary Arden
3551:(daughter)
3539:(daughter)
3415:Bardolatry
3325:King's Men
3267:Birthplace
2954:Chronology
2873:Henry VIII
2800:Richard II
2792:Edward III
2702:Coriolanus
2453:46 (1995).
2425:15 (1964).
2326:"Henry IV"
2229:14 October
2174:Hill, 106.
2125:Glick, 15.
2098:'s essay,
1691:) (1971).
1669:Foakes, 6.
1505:) (1992).
1470:Foakes, 6.
1339:Gwilym Lee
1335:Peter Eyre
1281:media help
1147:Coriolanus
1001:'s plays.
894:Drury Lane
589:Nahum Tate
554:Drury Lane
521:proscenium
506:John Lowin
500:'s Men of
403:Touchstone
359:Will Kempe
340:Henry VIII
332:Richard II
282:King James
278:King's Men
273:impresario
179:Shoreditch
63:King's Men
3597:John Hall
3587:(brother)
3575:(brother)
3507:(replica)
3447:Star Trek
3435:Memorials
3430:Influence
3420:Festivals
3362:Sexuality
3352:Portraits
3347:New Place
3199:Ur-Hamlet
3135:Mucedorus
3045:Apocrypha
2785:King John
2776:Histories
2723:King Lear
2686:Tragedies
2582:Cymbeline
2351:. Variety
2248:The Stage
1939:King Lear
1909:King Lear
1738:Cymbeline
1409:Hollywood
1386:Propeller
1355:Matt Ryan
1327:Wyndham's
1257:"Othello"
1233:performs
1198:"Othello"
1142:Nuremberg
1072:In 1936,
1045:Cymbeline
1028:Cymbeline
965:, at the
923:orchestra
878:grotesque
831:in which
787:King Lear
624:King Lear
411:King Lear
383:King Lear
350:in 1642.
306:Cymbeline
212:King Lear
196:Southwark
132:Victorian
126:fireworks
98:King Lear
45:'s plays.
3658:Category
3633:Category
3581:(sister)
3569:(mother)
3563:(father)
3075:Cardenio
2964:Settings
2912:See also
2835:Henry VI
2806:Henry IV
2552:Comedies
2306:. London
2104:Archived
1975:Dryden,
1883:(1986).
1428:See also
1379:New York
1371:Broadway
1331:Ron Cook
1319:Jude Law
1108:Broadway
874:Cromwell
805:Malvolio
762:, 1745.
740:Romantic
599:and the
597:Fletcher
593:Beaumont
496:and the
439:Falstaff
431:The Wits
391:Dogberry
348:Puritans
183:Henry IV
173:and the
3425:Gardens
3301:Editors
3104:Locrine
3097:Fair Em
2929:Henriad
2828:Henry V
2737:Othello
2730:Macbeth
2436:, 1984.
2208:Bradley
2111:, from
2009:Hogarth
1806:, 1247.
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1243:Othello
1235:Othello
1129:Welles'
1120:Macbeth
1083:Macbeth
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853:Lessing
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747:Britain
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86:Othello
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3533:(wife)
3524:Family
3397:Legacy
2969:Scenes
2709:Hamlet
2355:5 July
2332:5 July
2310:5 July
2158:
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1053:Imogen
1043:, but
1015:Cubist
1010:Hamlet
862:Herder
857:Goethe
849:Hamlet
825:Hamlet
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577:Hamlet
478:Hamlet
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463:Bottom
455:drolls
435:drolls
381:, and
375:Hamlet
318:Hamlet
271:, and
245:Hamlet
225:London
204:Hamlet
105:, and
80:Hamlet
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3387:Grave
3377:Style
3342:Music
3259:works
3224:Poems
3053:Plays
2991:Poems
2543:Plays
1612:, xx.
1445:Notes
1100:Haiti
758:. By
672:opera
525:props
288:. In
67:Globe
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3382:Will
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3254:Life
2357:2016
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2231:2012
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1962:See
1947:ISBN
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