Shakespeare and the force of modern performance

Shakespeare and the Force of Modern Performance

Volumn , Issue , 2003, Pages 1-274

  Worthen, W B ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84928292496     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1017/CBO9780511484087     Document Type: Book

References (56)

1. Tharon W. Howard, Rhetoric of Electronic Communications 36.
2. Eric A. Havelock, Preface to Plato 20–60
3. Eric A. Havelock, The Muse Learns to Write chapter 2.
4. Ralph Berry, On Directing Shakespeare 14–23
5. Alvin Kernan, Printing Technology 48–55.
6. M. B. Parkes develops this narrative in Pause and Effect 1–41
7. Peter L. Shillingsburg, Scholarly Editing 68–74.
8. Taku Sugimoto and James A. Levin, “Multiple Literacies and Multimedia” 143–46
9. Julie Stone Peters, Theatre of the Book 23–25.
10. Margreta de Grazia and Peter Stallybrass, “Materiality of the ShakespeareanText” 267–68
11. W. B. Worthen, Shakespeare and the Authority of Performance 120–25.
12. Tiffany Stern, Rehearsal fromS hakespeare to Sheridan 59–60, 121
13. Katharine Eisaman, Inwardness and Theater 2–3
14. Stanley Fish, Professional Correctness 47–52.
15. Roach, Cities of the Dead 286
16. David Wiles, Shakespeare’s Clown, 44–46
17. Shakespeare, First Quarto of Hamlet 9.21–28
18. Andrew Gurr “Shakespeare’s Globe” 27–32
19. W. B. Worthen, Shakespeare and the Authority of Performance chapter 2
20. Stephen Eddy Snow, Performing the Pilgrims 18–27.
21. Snow, Performing the Pilgrims 61
22. Great Britain in Theatres of Memory 169, 174, 191–92.
23. Rory Turner, “Bloodless Battles” 126
24. Tony Horwitz, Confederates in the Attic 275–81.
25. M. Christine Boyer, “Cities for Sale” 193, 190, 192.
26. Joseph B. Pine and James H. Gilmore, Experience Economy 46–68.
27. Project on Disney, Inside the Mouse 110–62.
28. Bessell, “Hamlet –The White Company, 2000” 17
29. Peter Holland, English Shakespeares 71–74.
30. Carol Chillington Rutter, Enter the Body 57–103.
31. Susan Bennett, Performing Nostalgia, especially chapter 4.
32. Richard Halpern, Shakespeare Among the Moderns 35–40.
33. Barbara Hodgdon, “Looking for Mr. Shakespeare” 69
34. W. B. Worthen, Shakespeare and the Authority of Performance 76–94.
35. J. R. Mulryne, “Perils and Profits of Interculturalism” 71–81.
36. Joseph Roach, Cities of the Dead 161–63.
37. Crystal, English as a Global Language chapter 4.
38. James Loehlin, “ ‘These Violent Delights’ ” 121–25.
39. Janet Maslin, “Soft! What Light?” c12
40. Michael Wilmington, “Shakespeare, Dude” 7h
41. Anthony Lane, “Tights! Camera! Action!” 66.
42. Sassen, Cities in a World Economy 50
43. Brian Johnson, “Souping Up the Bard” 74
44. Mick LaSalle, “This ‘Romeo’ ” c3
45. Lyons, “Lights, Camera, Shakespeare” 57
46. Maslin, “Soft! What Light?” c12
47. Travers, “Just Two Kids” 124
48. Turan, “A Full-Tilt ‘Romeo’ ” f10
49. Wilmington, “Shakespeare, Dude” 7h
50. Baltake, “A Rousing Take” 21
51. Lyons, “Lights, Camera, Shakespeare” 57
52. Travers, “Just Two Kids” 123
53. Loehlin, “ ‘These Violent Delights’ ” 130–32
54. Joseph Grigely, Textualterity 60–70.
55. Jeffrey Masten, “Pressing Subjects” 93–94.
56. David S. Miall, “The Hypertextual Moment” 161