Awards
- Winner of David Bevington Award for Best New Book in Early Drama Studies 2009
- Winner of David Bevington Award for Best New Book in Early Drama Studies 2009.
- Winner of Winner of the 2009 David Bevington Award for Best New Book in Early Drama Studies awarded by the Medieval and Renaissance Drama Society.
Overview
A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. It demanded the most sensitive attention to the opportunities inscribed in the script, and to the ongoing dramatic moment. Here is where the young actor Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam. This is the story of Shakespeare in Parts. As Shakespeare developed his playwriting, the apparent limitations of the medium get transformed into expressive opportunities. Both cue and speech become promise-crammed repositories of meaning and movement, and of individually discoverable space and time. Writing always for the same core group of players, Shakespeare could take - and insist upon - unprecedented risks. The result is onstage drama of astonishing immediacy. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's mould-altering work of historical and imaginative recovery provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.
Full Product Details
Author: Simon Palfrey (Fellow and Tutor in English, Brasenose College, Oxford) ,
Tiffany Stern (Fellow and Tutor in English, University College, Oxford)
Publisher: Oxford University Press
Imprint: Oxford University Press
Dimensions:
Width: 15.50cm
, Height: 3.20cm
, Length: 23.40cm
Weight: 0.864kg
ISBN: 9780199591107
ISBN 10: 0199591105
Pages: 560
Publication Date: 08 December 2010
Audience:
College/higher education
,
Undergraduate
,
Postgraduate, Research & Scholarly
Format: Paperback
Publisher's Status: Active
Availability: To order
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.
Reviews
<br> Stunningly fresh and rewarding...A pathbreaking study, and it is bound to rejuvenate the debate about whether, or rather to what extent, Shakespeare wrote with readers of print in mind. --Studies in English Literature, 1500-1900<br>
`Review from previous edition Elegantly written...a ground-breaking study, which shows how Shakespeare the technician sought always to expand the mental possibilities for the actors.' Ralph Berry, Contemporary Review `Rarely has so much new and exciting information about Shakespeare been gathered in a single study. The challenges of this book for how we conceive of, teach, write about and perform Shakespeare will surely be felt for years to come.' Douglas Bruster, The Review of English Studies `undeniably of major importance.' Paul Dean, English Studies `stunningly fresh and rewarding...among the field's finest scholarly monographs this year.' Paul Whitfield White, Studies in English Literature `a groundbreaking new study...The consideration of characters and their textual construction is a revelation. ..The book is exactly as scrupulous and thorough as the subject deserves...For professional Shakespeareans in the theatre or the university, it is required reading.' Tom Cornford, Around the Globe `this is a lucid and persuasive study that successfully infuses academic Shakespeare with the vibrancy and insecurity of live performance: Shakespeare's actors had to play their parts now, perilously in the present. ' Peter J. Smith, THES
