A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies.* Redraws the boundaries of Shakespeare performance studies.* Considers performance in a range of media, including in print, in the classroom, in the theatre, in film, on television and video, in multimedia and digital forms.* Introduces important terms and contemporary areas of enquiry in Shakespeare and performance.* Raises questions about the dynamic interplay between Shakespearean writing and the practices of contemporary performance and performance studies.* Written by an international group of major scholars, teachers, and professional theatre makers.

List of Illustrations ixNotes on Contributors xiAcknowledgments xviIntroduction: A Kind of History 1Barbara HodgdonPart I Overviews: Terms of Performance 111 Reconstructing Love: King Lear and Theatre Architecture13Peggy Phelan2 Shakespeare's Two Bodies 36Peter Holland3 Ragging Twelfth Night: 1602, 1996, 2002-3 57Bruce R. Smith4 On Location 79Robert Shaughnessy5 Where is Hamlet? Text, Performance, and Adaptation 101Margaret Jane Kidnie6 Shakespeare and the Possibilities of Postcolonial Performance121Ania LoombaPart II Materialities: Writing and Performance 1397 The Imaginary Text, or the Curse of the Folio 141Anthony B. Dawson8 Shakespearean Screen/Play 162Laurie E. Osborne9 What Does the Cued Part Cue? Parts and Cues in Romeo andJuliet 179Simon Palfrey and Tiffany Stern10 Editors in Love? Performing Desire in Romeo and Juliet197Wendy Wall11 Prefixing the Author: Print, Plays, and Performance 212W. B. WorthenPart III Histories 23112 Shakespeare the Victorian 233Richard W. Schoch13 Shakespeare Goes Slumming: Harlem '37 and Birmingham'97 249Kathleen McLuskie14 Stanislavski, Othello, and the Motives of Eloquence 267John Gillies15 Shakespeare, Henry VI and the Festival of Britain 285Stuart Hampton-Reeves16 Encoding/Decoding Shakespeare: Richard III at the 2002Stratford Festival 297Ric Knowles17 Performance as Deflection 319Miriam Gilbert18 Maverick Shakespeare 335Carol Chillington Rutter19 Inheriting the Globe: The Reception of Shakespearean Spaceand Audience in Contemporary Reviewing 359Paul Prescott20 Performing History: Henry IV, Money, and the Fashion of theTimes 376Diana E. HendersonPart IV Performance Technologies, Cultural Technologies39721 ''Are We Being Theatrical Yet?'':Actors, Editors, and the Possibilities of Dialogue 399Michael Cordner22 Shakespeare on the Record 415Douglas Lanier23 SShockspeare: (Nazi) Shakespeare Goes Heil-lywood 437Richard Burt24 Game Space/Tragic Space: Julie Taymor's Titus 457Peter S. Donaldson25 Shakespeare Stiles Style: Shakespeare, Julia Stiles, andAmerican Girl Culture 478Elizabeth A. Deitchman26 Shakespeare on Vacation 494Susan BennettPart V Identities of Performance 50927 Visions of Color: Spectacle, Spectators, and the Performanceof Race 511Margo Hendricks28 Shakespeare and the Fiction of the Intercultural 527Yong Li Lan29 Guying the Guys and Girling The Shrew: (Post)Feminist Fun atShakespeare's Globe 550G. B. Shand30 Queering the Audience: All-Male Casts in Recent Productionsof Shakespeare 564James C. Bulman31 A Thousand Shakespeares: From Cinematic Saga to FeministGeography or, The Escape from Iceland 588Courtney Lehmann32 Conflicting Fields of Vision: Performing Self and Other inTwo Intercultural Shakespeare Productions 610Joanne TompkinsPart VI Performing Pedagogies 62533 Teaching Through Performance 627James N. Loehlin34 ''The eye of man hath not heard, / The ear of manhath not seen'': Teaching Tools for SpeakingShakespeare 644Peter LichtenfelsIndex 659