Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-26T04:01:19.377Z Has data issue: false hasContentIssue false

Part XXI - Audiences

Published online by Cambridge University Press:  17 August 2019

By
Lori Humphrey Newcomb
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
Get access

Keywords

audience expectationsauditordress and material cultureembodimentinterculturalismliteraciesoriginal practicesplaygoerprint culturereceptionspectatoramphitheatersapplauseArmin, RobertaudienceAuthorshipclowningDekker, Thomasdrolleventgallantimprovisationindoor hallsjigsJonson, BenKemp, WilliamparticipationperformanceplaybooksreceptionstenographyTarlton, Richardtextualityactors in audienceaudienceaudience–actor interactionbenefit nightsCibber, SusannahCovent GardenDrury Laneeighteenth centuryfourth wallGarrick, Davidhalf-price admissionJewish Naturalization BillMacklin, CharlesThe Merchant of Venicepatent theatersprostitutesriotsseating backstageseating onstageShakespearean adaptationsShylockSiddons, Sarah1737 Theater Licensing ActAll the Year RoundAstor Place riotBowery TheatreHousehold WordsKean, CharlesMorley, HenryPhelps, Samuel“Report from the Select Committee on Dramatic Literature,” 1832Sadler’s WellsTheatre Regulation Act of 1843Tocqueville, Alexis deWhitman, WaltArts Council of Great Britainaudience surveysBogdanov, MichaelBradley, A. C.Brook, Petercultural tourismdirectorsHarbage, AlfredHenry VHolland, PeterJulius CaesarKennedy, DennisNew GlobeOlivier, LaurencePapp, JosephPoel, Williamdemographics of Shakespeare audiencesShakespeare as iconShakespeare in the ClassroomShakespeare’s Globe (playhouse)Shakespoptwentieth-century audiencesWanamaker, SamWelles, OrsonagingA Midsummer Night’s DreamDepartment of DefenseelderlyMacbethmilitaryNational Endowment for the Artsnursing homesoldierStill DreamingThe Bird in a CageBrowne, RobertBryan, GeorgeDekker, ThomasDresdenEarl of LeicesterElsinoreEngelische Comedien und TragedienEnglish playersFortunatusFriar Bacon and Friar BungayGettner, Johann GeorgGrazGreen, JohnGreene, RobertGryphius, AndreasHamletDuke Heinrich Julius of Braunschweig-LüneburgHeywood, ThomasHoghton, Alexander and ThomasJames I of England (James VI of Scotland)Jesuit dramaJohannes Doktor FaustKemp, WilliamKing Henry VKing’s MenKrumlov, ČeskýLeipzigLeo Armenius (1648)Leo Armenius (1650)Liebeskampff, oder Ander Theil Der Engelischen Comoedien und TragoedienLondonLord Admiral’s MenMarlowe, ChristopherMassinger, PhilipThe Merchant of VeniceMiddleton, ThomasMinstrelsMucedorusmusiciansmystery playsNyköpingThe Old Law or A New Way to Please YouPickelheringPloughman king legendsPope, ThomasPrague defenestrationpuppetryQueen’s MenRecords of Early English Drama (REED)Reynolds, RobertA Rod for Run-awaysRomeo and JulietRowley, WilliamThe Run-Away’s AnswerSachs, HansSaint DorotheaSaints’ playsSchilling, JohannShirley, JamesThe Shoemakers’ HolidaySimons, Joseph (or Simeons)Thirty Years’ WarTitus AndronicusThe Two Gentlemen of Veronavagrantsvagrancy lawsThe Virgin MartyrThe Winter’s TaleWolfenbüttelaccessibilityAmaryllis TheatreAmerican Sign Language (ASL)ASL Shakespeare Projectaudio descriptionblindCommunity College of AuroraDeafdisabilityFels, Deborah I.fingerspellingHamletHart House Theatrehearing impairmentlight-emitting diode (LED)low visionNational TheatreNovak, PeterOregon Shakespeare FestivalPeters, CynthiaRomeo and JulietRoyal Shakespeare Companysign language interpretationThe Tempesttouch tourTwelfth NightUdo, J. P.Wright-Meinhardt, Pamelaaleatoric effectanimalsantagonismattentionaudienceaudience experienceauthenticcloudscondescensionconventionsconvivialitydirect addressdissensionequally litexpert spectatorfainting1599 Globe (playhouse)historicityinteractionlaughtermaterial conditionsnegotiationopen airpigeonsreconstructionresponsetesponsivenessself-consciousnessShakespeare’s Globe (playhouse)social spaceswooningtheater conditionstouristweatherworld
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1483 - 1544
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Adams, Thomas R., and Barker, Nicolas. “A New Model for the Study of the Book.” A Potencie of Life: Books in Society. Ed. Barker, Nicolas. London: The British Library, 1993.Google Scholar
Bowsher, Julian. Shakespeare’s London Theatreland: Archaeology, History and Drama. London: Museum of London Archaeology, 2012.Google Scholar
Brook, Peter. The Empty Space. New York: Atheneum, 1968.Google Scholar
Capp, Bernard. “Playgoers, Players and Cross-Dressing in Early Modern London: The Bridewell Evidence.” The Seventeenth Century 18.2 (2003): 159–71.Google Scholar
Carlson, Marvin. “Theatre Audiences and the Reading of Performance.” Interpreting the Theatrical Past: Essays in the Historiography of Performance. Ed. Postlewait, Thomas and McConachie, Bruce A.. Iowa City: U of Iowa P, 1989. 82–98.Google Scholar
Cloak and Dagger Studios. “Explore the Theatre.” www.explorethetheatre.co.uk.Google Scholar
Escolme, Bridget. “Shakespeare, Rehearsal, and the Site-Specific.” Shakespeare Bulletin 30.4 (winter 2012): 506–22. http://muse.jhu.edu.proxy2.library.illinois.edu/journals/shakespeare_bulletin/v030/30.4.escolme.html.CrossRefGoogle Scholar
Freshwater, Helen. Theater and Audience. Houndmills: Palgrave Macmillan, 2009.CrossRefGoogle Scholar
Gurr, Andrew. Playgoing in Shakespeare’s London. 3rd ed. Cambridge: Cambridge University Press, 2004.Google Scholar
Holland, Peter. English Shakespeares: Shakespeare on the English Stage in the 1990s. Cambridge: Cambridge University Press, 1997.Google Scholar
Kennedy, Dennis, and Lan, Yong Li. Shakespeare in Asia. Cambridge: Cambridge University Press, 2010.Google Scholar
Kennedy, Maev. “Does the Rediscovery of Shakespeare’s Curtain Theatre Matter? Absolutely.” The Guardian 7 June 2012. http://www.guardian.co.uk/culture/2012/jun/07/rediscovery-shakespeare-curtain-theatre-matters.Google Scholar
Knowles, Ric. Reading the Material Theatre. Cambridge: Cambridge University Press, 2004.Google Scholar
Lanier, Douglas M. “Post-textual Shakespeare.” Shakespeare Survey 64 (2011): 145–62.Google Scholar
Macgregor, Neil. Shakespeare’s Restless World. London: Allen Lane, 2012.Google Scholar
dir.Madden, John Shakespeare in Love. Miramax, 1998.Google Scholar
Massai, Sonia. “Defining Local Shakespeares.” Worldwide Shakespeares: Local Appropriations in Film and Performance. Ed. Massai, Sonia. Abingdon: Routledge, 2005. 3–11.Google Scholar
Pearlman, E. “R. Willis and The Cradle of Security, c.1572.” English Literary Renaissance 20.3 (1990): 357–73.Google Scholar
Prescott, Paul. “Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing.” A Companion to Shakespeare and Performance. Ed. Hodgdon, Barbara and Worthen, W. B.. Oxford: Blackwell, 2005. 359–75.Google Scholar
Salgādo, Gāmini. Eyewitnesses of Shakespeare: First Hand Accounts of Performances, 1590–1890. New York: Barnes and Noble Books, 1975.Google Scholar
Shaughnessy, Robert. The Shakespeare Effect: A History of Twentieth-Century Performance. Houndmills: Palgrave Macmillian, 2002.Google Scholar
Smith, Bruce R. Phenomenal Shakespeare. Oxford: Wiley-Blackwell, 2010.CrossRefGoogle Scholar
Stern, Tiffany. “Actors and Audience on the Stage at Blackfriars.” Inside Shakespeare. Ed. Menzer, Paul. Selinsgrove: Susquehanna UP, 2006. 35–53.Google Scholar
Stern, Tiffany. Documents of Performance in Early Modern England. Oxford: Oxford UP, 2010.Google Scholar
Stern, Tiffany. “‘You That Walk i’th Galleries’: Standing and Walking in the Galleries of the Globe Theatre.” Shakespeare Quarterly 51.2 (2000): 211–16. http://www.jstor.org.proxy2.library.illinois.edu/stable/2902134.Google Scholar
West, William. “Understanding in the Elizabethan Theaters.” Renaissance Drama 35 (2006): 113–43.CrossRefGoogle Scholar
Williams, Raymond. “Argument: Text and Performance.” 1954. Rpt. in Twentieth-Century Performance Reader. Ed. Huxley, Michael and Witts, Noel. London: Routledge, 1996. 369–83.Google Scholar
Worthen, W. B. “Shakespeare 3.0: Or Text versus Performance, the Remix.” Alternative Shakespeares 3. Ed. Henderson, Diana E.. Abingdon: Routledge, 2008. 54–77.Google Scholar
Yong, Li Lan. “Shakespeare, Asian Actors, and Intercultural Spectatorship.” Global Shakespeares. 5 April 2010. http://globalshakespeares.mit.edu/blog/2010/04/05/shakespeare-asian-actors-and-intercultural-spectatorship/.Google Scholar

Further reading

Bennett, Susan. Theatre Audiences: A Theory of Production and Reception. 2nd ed. London: Routledge, 1997.Google Scholar
Blau, Herbert. The Audience. Baltimore: Johns Hopkins UP, 1990.Google Scholar
Brantley, Ben. “One Man’s Shakespeare Is Another’s Kick in the Pants.” New York Times 16 January 2013: C2(L). Academic OneFile. Document URL http://go.galegroup.com.proxy2.library.illinois.edu/ps/i.do?id=GALE%7CA314992166&v=2.1&u=uiuc_uc&it=r&p=AONE&sw=w&asid=2503a80de79299eb6491651202e4be9e Accessed 11 March 2013.Google Scholar
Bulman, James, ed. Shakespeare, Theory, and Performance. London: Routledge, 1996.Google Scholar
Escolme, Bridget. Talking to the Audience: Shakespeare, Performance, Self. Abingdon: Routledge, 2005.Google Scholar
Harbage, Alfred. Shakespeare’s Audience. New York: Columbia UP, 1941.Google Scholar
Hodgdon, Barbara, and Worthen, W. B., eds. A Companion to Shakespeare and Performance. Oxford: Wiley-Blackwell, 2005.Google Scholar
Knowles, Ric. Theatre and Interculturalism. Houndmills: Palgrave Macmillan, 2010.CrossRefGoogle Scholar
Lopez, Jeremy. Theatrical Convention and Audience Response in Early Modern Drama. Cambridge: Cambridge University Press, 2003.Google Scholar
Low, Jennifer, and Myhill, Nora. Imagining the Audience in Early Modern Drama, 1558–1642. New York: Palgrave Macmillan, 2011.CrossRefGoogle Scholar
Marranca, Bonnie, and Dasgupta, Guatam, eds. Interculturalism and Performance. New York: PAJ Books, 2001.Google Scholar
Pavis, Patrice. “Intercultural Theatre Today (2010).” Forum Modernes Theater 25.1 (2010): 5–15. www.jstr.org/project/images/02%20Pavis.pdf.CrossRefGoogle Scholar
Whitney, Charles. Early Responses to Renaissance Drama. Cambridge: Cambridge University Press, 2006.Google Scholar

Sources cited

Baskervill, Charles Read. The Elizabethan Stage Jig and Related Song-Drama. Chicago: U of Chicago P, 1929.Google Scholar
Bentley, Gerald Eades. The Jacobean and Caroline Stage. 7 vols. Oxford: Clarendon, 1941–68.Google Scholar
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon, 1923.Google Scholar
Davies(of Hereford), John. Wits Bedlam. London: G. Eld, 1617.Google Scholar
Dekker, Thomas. The Guls Horne-booke. London: R. S., 1609.Google Scholar
Gayton, Edmund. Pleasant Notes upon Don Quixot. London: William Hunt, 1654.Google Scholar
Gostelow, R. “On the death of Mr. Randolphe.” Poems. By Randolph, Thomas. Oxford: Leonard Lichfield, 1638.Google Scholar
Gurr, Andrew. Playgoing in Shakespeare’s London. Cambridge: Cambridge University Press, 1987.Google Scholar
Herford, C. H., Simpson, Percy, and Simpson, Evelyn. Ben Jonson. 11 vols. Oxford: Clarendon, 1925–52.Google Scholar
May, Thomas. The Life of a Satyrical Puppy Called Nim. London: Humphrey Moseley, 1657.Google Scholar
Middleton, Thomas, and Dekker, Thomas. The Roaring Girl, or Moll Cut-Purse. London: Thomas Archer, 1611.Google Scholar
Palmer, Thomas. “Master John Fletcher his dramaticall Works now at last printed.” Comedies and Tragedies. By Beaumont, Francis and Fletcher, John. London: Humphrey Moseley, 1647.Google Scholar
Steggle, Matthew. Laughing and Weeping in Early Modern Theatres. Aldershot: Ashgate, 2007.Google Scholar
Stern, Tiffany. “Watching as Reading: The Audience and Written Text in the Early Modern Playhouse.” How to Do Things with Shakespeare. Ed. Maguire, Laurie. Oxford: Blackwell, 2008. 136–59.Google Scholar
Straznicky, Marta. “The Red Bull Repertory in Print, 1605–60.” Early Theatre 9.2 (2006): 144–56.Google Scholar
Wiles, David. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: Cambridge University Press, 1987.CrossRefGoogle Scholar

Further reading

Butterworth, Philip. Magic on the Early English Stage. Cambridge: Cambridge University Press, 2005.Google Scholar
Cook, Ann Jennalie. The Privileged Playgoers of Shakespeare’s London, 1576–1642. Princeton: Princeton UP, 1981.Google Scholar
Harbage, Alfred. Shakespeare’s Audience. New York: Columbia UP, 1941.CrossRefGoogle Scholar
Haynes, Jonathan. The Social Relations of Jonson’s Theater. Cambridge: Cambridge University Press, 1992.Google Scholar
Latham, Robert, and Matthews, William, eds. The Diary of Samuel Pepys. 11 vols. Berkeley: U of California P, 2000–01. (Also included in the searchable database http://www.pepysdiary.com/.)Google Scholar
Lopez, Jeremy. Theatrical Convention and Audience Response in Early Modern Drama. Cambridge: Cambridge University Press, 2003.Google Scholar
Low, Jennifer A., and Myhill, Nova, eds. Imagining the Audience in Early Modern Drama, 1558–1642. London: Palgrave, 2011.CrossRefGoogle Scholar
Preiss, Richard. Clowning and Authorship in Early Modern Theatre. Cambridge: Cambridge University Press, 2013.Google Scholar
Stern, Tiffany. Documents of Performance in Early Modern England. Cambridge: Cambridge University Press, 2009.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Schwartz, Robert. Baltimore: Johns Hopkins UP, 1978.CrossRefGoogle Scholar
Whitney, Charles. Early Responses to Renaissance Drama. Cambridge: Cambridge University Press, 2006.Google Scholar

Sources cited

Appleton, William Worthen. Charles Macklin: An Actor’s Life. Cambridge: Harvard UP, 1960.CrossRefGoogle Scholar
Boaden, James. Memoirs of the Life of John Philip Kemble, esq. Philadelphia: Robert H. Small, 1825.Google Scholar
Burney, Frances. Evelina. Ed. Doody, Margaret Anne. New York: Penguin, 1994.Google Scholar
Cook, William. Memoirs of Charles Macklin. London: James Asperne, 1804.Google Scholar
Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769. Oxford: Clarendon, 1992.Google Scholar
Freeman, Lisa. Character’s Theater: Genre and Identity on the Eighteenth-Century English Stage. Philadelphia: U of Pennsylvania P, 2002.CrossRefGoogle Scholar
Freeman, Lisa. “Introduction.” Lives of Shakespearean Actors II. Vol. 2: Sarah Siddons. Ed. Freeman, Lisa. London: Pickering and Chatto, 2009. vii–xxiii.Google Scholar
Gross, John. Shylock: A Legend and Its Legacy. New York: Simon and Schuster, 1992.Google Scholar
Highfill, Philip H., Burnim, Kalman A., and Langhans, Edward A.. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660–1800. 16 vols. Carbondale: Southern Illinois UP, 1975.Google Scholar
Hughes, Leo. The Drama’s Patrons: A Study of the Eighteenth-Century London Audience. Austin: U of Texas P, 1971.Google Scholar
Inchbald, Elizabeth. “To the Artist.” Nature and Art. Ed. Maurer, Shawn Lisa. Orchard Park: Broadview, 2005.Google Scholar
Learcroft, Richard. The Development of the English Playhouse. London: Eyre Methuen, 1973.Google Scholar
Marsden, Jean I. The Re-imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory. Lexington: UP of Kentucky, 1995.Google Scholar
Nussbaum, Felicity. Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater. Philadelphia: U of Pennsylvania P, 2010.Google Scholar
Parry, Edward Abbot. Charles Macklin. London: Kegan Paul, 1891.Google Scholar
Pedicord, Harry William. “The Changing Audience.” The London Theatre World, 1660–1800. Ed. Hume, Robert D.. Carbondale: Southern Illinois UP, 1980. 236–52.Google Scholar
Pedicord, Harry William. The Theatrical Public in the Time of Garrick. Carbondale: Southern Illinois UP, 1966.Google Scholar
Sabor, Peter, and Yachnin, Paul. “Introduction.” Shakespeare and the Eighteenth Century. Ed. Sabor, Peter and Yachnin, Paul. Hampshire: Ashgate, 2008. 1–9.Google Scholar
Sauter, Willmar. The Theatrical Event: Dynamics of Performance and Perception. Iowa City: U of Iowa P, 2000.Google Scholar
Scouten, Arthur. “The Increase in Popularity of Shakespeare’s Plays in the Eighteenth Century: A Caveat for Interpreters of Stage History.” Shakespeare Quarterly 7.2 (spring 1956): 189–202.CrossRefGoogle Scholar
Shapiro, James. Shakespeare and the Jews. New York: Columbia UP, 1996.Google Scholar
Wilkinson, Tate. Memoirs of His Own Life. Vol. 4. York: Wilson, Spence, and Mawman, 1790.Google Scholar

Further reading

Davis, Tracy C., and Postlewait, Thomas. Theatricality. Cambridge: Cambridge University Press, 2003.Google Scholar
Holland, Peter. The Ornament of Action: Text and Performance in Restoration Comedy. Cambridge: Cambridge University Press, 1979.Google Scholar
Lannep, William Van, et al., eds. The London Stage, 1660–1800. 11 vols. Carbondale: Southern Illinois UP, 1960–68.Google Scholar
Palfrey, Simon, and Stern, Tiffany. Shakespeare in Parts. Oxford: Oxford UP, 2007.Google Scholar
Peters, Julie Stone. Theatre of the Book, 1480–1880: Print, Text and Performance in Europe. Oxford: Oxford UP, 2000.Google Scholar
Stern, Tiffany. Rehearsal from Shakespeare to Sheridan. Oxford: Oxford UP, 2000.Google Scholar
Straub, Kristina. Sexual Suspects: Eighteenth-Century Players and Sexual Ideology. Princeton: Princeton UP, 1991.Google Scholar
Styan, J. L. The English Stage: A History of Drama and Performance. Cambridge: Cambridge University Press, 1996.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Schwartz, Robert. Baltimore: Johns Hopkins UP, 1987.Google Scholar

Sources cited

Booth, Michael. “East End and West End: Class and Audience in Victorian London.” Theatre Research International 2 (1997): 98–103.CrossRefGoogle Scholar
Booth, Michael. Theatre in the Victorian Age. Cambridge: Cambridge University Press, 1991.Google Scholar
Brown, John Russell. Studying Shakespeare in Performance. Basingstoke: Palgrave Macmillan, 2011.Google Scholar
Carrell, Jennifer Lee. “How the Bard Won the West.” Smithsonian 29 (August 1998): 99–102, 104, 106–07.Google Scholar
Davis, Jim, and Emeljanow, Victor. Reflecting the Audience: London Theatre Going, 1840–1880. Iowa City: U of Iowa P, 2001.Google Scholar
Davis, Jim, and Emeljanow, Victor. “Victorian and Edwardian Audiences.” The Cambridge Companion to Victorian and Edwardian Theatre. Ed. Powell, Kerry. Cambridge: Cambridge University Press, 2004. 93–108.Google Scholar
Dickens, Charles. “Shakspeare and Newgate.” Household Words 4 (4 October 1851): 25–27.Google Scholar
Grimstead, David. Melodrama Unveiled: American Theatre and Culture, 1800–1850. Chicago: U of Chicago P, 1968.Google Scholar
Jacob, Christian. “Toward a Cultural History of Cartography.” Imago Mundi 48 (1996): 191–98.CrossRefGoogle Scholar
Jones, Henry Arthur. “The Theatre and the Mob.” The Renascence of the English Drama. Freeport: Books for Libraries Press, 1971. 1–25.Google Scholar
Kolin, Philip. Shakespeare in the South: Essays on Performance. Jackson: UP of Mississippi, 1983.Google Scholar
Levine, Lawrence. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard UP, 1988.Google Scholar
“London,” New York Times (19 October 1858): 2.Google Scholar
Mayhew, Henry. London Labour and the London Poor. Vol. 4. New York: Dover, 1968.Google Scholar
Morley, Henry. The Journal of a London Playgoer. Leicester: Leicester UP, 1974.Google Scholar
Phelps, W. May, and Robertson, J. Forbes. The Life and Life-work of Samuel Phelps. London: Sampson Low, 1886.Google Scholar
Roppolo, Joseph Patrick. “Hamlet in New Orleans.” Tulane Studies in English 6 (1956): 71–86.Google Scholar
Sawyer, Robert, ed. Lives of Shakespearean Actors: Charles Kean. Gen. ed. Marshall, Gail. London: Pickering and Chatto, 2010.Google Scholar
Select Committee on Dramatic Literature. “Report from the Select Committee on Dramatic Literature.” London: Select Committee on Dramatic Literature, 1832.Google Scholar
“Some Theatrical Entertainments.” All the Year Round 19 May 1877: 273–278.Google Scholar
Sturgess, Kim. Shakespeare and the American Nation. Cambridge: Cambridge University Press, 2004.Google Scholar
Tocqueville, Alexis. Democracy in America. Book 2. Trans. Reeve, Henry. New York: Aldard and Saunders, 1838.Google Scholar
Whitman, Walt. “The Old Bowery.” Complete Prose Works. New York: D. Appleton and Company, 1909.Google Scholar

Further reading

Bate, Jonathan. Politics, Theatre, Criticism, 1730–1830. Oxford: Clarendon, 1989.Google Scholar
Cliff, Nigel. The Shakespeare Riots: Revenge, Drama, and Death in Nineteenth-Century America. New York: Random House, 2007.Google Scholar
Foulkes, Richard. Church and Stage in Victorian England. Cambridge: Cambridge University Press, 1997.Google Scholar
Jackson, Russell. Victorian Theatre: The Theatre in Its Time. New York: New Amsterdam Books, 1989.Google Scholar
Koon, Helene Wickham. How Shakespeare Won the West. Jefferson: McFarland, 1989.Google Scholar
Marshall, Gail, and Poole, Adrian, eds. Victorian Shakespeare. Vol. 1: Theatre, Drama and Performance. Basingstoke: Palgrave Macmillan, 2003.Google Scholar
Poole, Adrian. Shakespeare and the Victorians. London: Arden, 2004.Google Scholar
Rowell, George. Queen Victoria Goes to the Theatre. London: P. Elek, 1978.Google Scholar
Schoch, Richard W. Shakespeare’s Victorian Stage: Performing History in the Theatre of Charles Kean. Cambridge: Cambridge University Press, 1998.Google Scholar

Sources cited

Adams, Anthony. “General Editor’s Preface.” Shakespeare in the Classroom: What’s the Matter? By Leach, Susan. Buckingham: Open UP, 1992. vii–x.Google Scholar
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Trans. Willett, John. New York: Hill and Wang, 1964.Google Scholar
Brook, Peter. The Empty Space. Harmondsworth: Penguin, 1968.Google Scholar
Freshwater, Helen. Theatre and Audience. Basingstoke: Palgrave Macmillan, 2009.Google Scholar
Gardiner, Caroline. “From Bankside to the West End: A Comparative View of London Audiences.” New Theatre Quarterly 10 (1994): 70–86.Google Scholar
Glick, Claris. “William Poel: His Theories and Influence.” Shakespeare Quarterly 15.1 (winter 1964): 15–25.Google Scholar
Greenblatt, Stephen. Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Oxford: Oxford UP, 1988.Google Scholar
Grotowski, Jerzy. Towards a Poor Theatre. Ed. Barba, Eugenio. London: Methuen, 1968.Google Scholar
Harbage, Alfred. Shakespeare’s Audience. New York: Columbia UP, 1941.Google Scholar
Holland, Peter. English Shakespeares: Shakespeare on the English Stage in the 1990s. Cambridge: Cambridge University Press, 1997.Google Scholar
Kennedy, Dennis. Looking at Shakespeare: A Visual History of Twentieth-Century Performance. Cambridge: Cambridge University Press, 1996.Google Scholar
Kennedy, Dennis. “Shakespeare and Cultural Tourism.” Theatre Journal 50 (1998): 175–88.Google Scholar
Kennedy, Dennis. “Sports and Shows: Spectators in Contemporary Culture.” Theatre Research International 26.3 (2001): 277–84.Google Scholar
Kiernan, Pauline. “Findings from the Globe Opening Season.” Shakespeare’s Globe: Research Bulletin 2 (March 1998). http://www.globelink.org/docs/Henry_V_1997.pdf.Google Scholar
Kiernan, Pauline. Staging Shakespeare at the New Globe. Basingstoke: Macmillan, 1999.Google Scholar
Lanier, Douglas. Shakespeare and Modern Popular Culture. New York: Oxford UP, 2002.CrossRefGoogle Scholar
Leach, Susan. Shakespeare in the Classroom: What’s the Matter? Buckingham: Open UP, 1992.Google Scholar
MacCannell, Dean. The Tourist: A New Theory of the Leisure Class. London: Macmillan, 1976.Google Scholar
Speaight, Robert. Shakespeare on the Stage: An Illustrated History of Shakespearean Performance. London: Collins, 1973.Google Scholar
Sprague, Arthur Colby. Shakespearean Players and Performances. New York: Grenfield, 1969.Google Scholar
Yu, Jin Ko. “A Little Touch of Harry in the Light: Henry V at the New Globe.” Shakespeare Survey 52 (1999): 107–19.Google Scholar

Further reading

Bate, Jonathan. “Romantic Players, Political Theatres.” Shakespeare: Readers, Audiences, Players. Ed. White, R. S., Edelman, Charles, and Wortham, Christopher. Perth: U of Western Australia P, 1998.Google Scholar
Bristol, Michael D. Shakespeare’s America, America’s Shakespeare. London: Routledge, 1990.Google Scholar
Brockbank, Philip. “Introduction: Abstracts and Brief Chronicles.” Players of Shakespeare. Cambridge: Cambridge University Press, 1985. 1–11.Google Scholar
Brown, John Russell. Shakespeare and the Theatrical Event. Basingstoke: Palgrave Macmillan, 2002.Google Scholar
Burt, Richard, ed. Shakespeare after Mass Media. New York: Palgrave, 2002.Google Scholar
Elias, Norbert, and Dunning, Eric. The Quest for Excitement: Sport and Leisure in the Civilising Process. Oxford: Blackwell, 1986.Google Scholar
Holland, Peter. English Shakespeares: Shakespeare in the English Stage in the 1990s. Cambridge: Cambridge University Press, 1997.Google Scholar
Kiernan, Pauline. Staging Shakespeare at the New Globe. Basingstoke: Palgrave Macmillan, 1999.Google Scholar
Kirshenblatt-Gimblett, Barbara. Destination Culture: Tourism, Museums, and Heritage. Berkeley: U of California P, 1998.Google Scholar
Shaughnessy, Robert, ed. The Cambridge Companion to Shakespeare and Popular Culture. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Shepherd, Simon. The Cambridge Introduction to the Modern British Theatre. Cambridge: Cambridge University Press, 2009.Google Scholar
Styan, J. L. The English Stage: A History of Drama and Performance. Cambridge: Cambridge University Press, 1996.Google Scholar
Wilders, John. “Shakespeare with No Audience.” Shakespeare: Readers, Audiences, Players. Ed. White, R S., Edelman, Charles, and Worthen, Christopher. Perth: U of Western Australia P, 1998.Google Scholar

Sources cited

“Alabama Shakespeare Festival’s Macbeth.” Shakespeare in American Communities: Military Base Tour. National Endowment for the Arts. http://www.shakespeareinamericancommunities.org/tours/cal/military.html. Accessed 5 June 2006. Virgina Samford Theatre. http://www.virginiasamfordtheatre.org. Accessed 17 July 2004.Google Scholar
Bangs, John Kendrick. Katharine: A Travesty. 1888. Nineteenth-Century Shakespeare Burlesques. Vol. 5. Selection and Introductions by Wells, Stanley. Wilmington: Glazier, 1978. 219–303.Google Scholar
Brown, Jared. The Theatre in America during the Revolution. Cambridge: Cambridge University Press, 1995.CrossRefGoogle Scholar
Evans, Heidi. “Next Stage of Their Lives: Upper Manhattan Seniors Brush Up on Their Shakespeare.” New York Daily News 7 July 2007. http://www.nydailynews.com/new-york/manhattan/stage-lives-upper-manhattan-seniors-brush-shakespeare-article-1.160861. Accessed 15 August 2011.Google Scholar
Evans, Maurice. All This – And Evans Too. Columbia: U of South Carolina P, 1987.Google Scholar
Folger Shakespeare Library. “Shakespeare for Seniors.” http://www.folger.edu/Content/Teach-and-Learn/Family-and-Community-Programs/Shakespeare-forSeniors.cfm. Accessed 4 July 2011.Google Scholar
McCall, Kathleen. “Tour of Duty.” American Theatre (February 2005): 25–27, 80–82.Google Scholar
National Endowment for the Arts. “National Endowment for the Arts Brings Shakespeare to Military Bases.” Press Release. 30 August 2004. https://www.arts.gov/NEARTS/2004v3-bard-bases/nea-brings-shakespeare-military. Accessed 5 September 2004.Google Scholar
People’s Theatre Project. “Theatre for Seniors.” Arts in Education. http://peoplestheatreproject.org/Peoples_Theatre_Project/Education.html. Accessed 15 August 2011.Google Scholar
Quince, Rohan. Shakespeare in South Africa: Stage Productions during the Apartheid Era. New York: Peter Lang, 2000.Google Scholar
Rogerson, Hank. “Adventures in Shooting: Day #1.” Documentors: Make Your Documentary Film. http://documentaryhowto.com/documentary-blog/181-adventures-in-documentary-shooting-day-1. Accessed 4 July 2011.Google Scholar
Rogerson, Hank, and Spitzmiller, Jilann. “Still Dreaming: Shakespeare, Love and Dreaming – All at the Age of 80.” http://www.indiegogo.com/STILL-DREAMING. Accessed 4 July 2011.Google Scholar
Teague, Frances. Shakespeare and the American Popular Stage. Cambridge: Cambridge University Press, 2006.Google Scholar
Thompson, Kent. “Drafting Shakespeare.” Roundtable discussion led by Scott Newstrom [now Newstok]. Shakespeare Association of America, Philadelphia, PA. 13 April 2006.Google Scholar
Thompson, Kent. “Operation Macbeth: How the Alabama Shakespeare Festival Took the Front Line in a New Cultural Campaign.” American Theatre (February 2005): 22–24, 76–79.Google Scholar
Wells, Stanley, select. and introd. Nineteenth-Century Shakespeare Burlesques. Vol. 5. Wilmington: Glazier, 1978.Google Scholar
Wiss, Michael. “Macbeth Takes Stage at Fitness Center.” The Periscope [Kings Bay, Georgia] 23 September 2004. http://www.kingsbayperiscope.com/stories/092304/kin_macbeth001.shtml.Google Scholar

Further reading

Barnes, Todd Landon. “George W. Bush’s ‘Three Shakespeares’: Macbeth, Macbush, and the Theater of War.” Shakespeare Bulletin 26.3 (fall 2008): 1–29.Google Scholar
Gale, Cedric. “Shakespeare on the American Stage in the Eighteenth Century.” Diss. New York University, 1945.Google Scholar
Newstrom(now Newstok), Scott. “‘Step Aside, I’ll Show Thee a President’: George W as Henry V?” http://www.poppolitics.com/articles/printerfriendly/2003-05-01-henryv.shtml.Google Scholar
Perry, David L. “Using Shakespeare’s Henry V to Teach Just-War Principles.” International Studies Association. Portland, OR. February 2003. Text reproduced at http://home.earthlink.net/~davidlperry/henryv.htm. Accessed 21 July 2011.Google Scholar
“Shakespeare and Veterans.” http://shakespeareandveterans.org. Accessed 15 August 2011.Google Scholar

Sources cited

Beier, A. L. Masterless Men: The Vagrancy Problem in England, 1560–1640. London: Routledge, 1985.Google Scholar
Chambers, E. K. The Elizabethan Stage. Vol. II. Oxford: Clarendon Press, 1923.Google Scholar
Cohn, Albert. Shakespeare in Germany in the Sixteenth and Seventeenth Centuries: An Account of English Actors in Germany and the Netherlands and of the Plays Performed by Them during the Same Period. London: 1865.Google Scholar
Creizenach, Wilhelm. Die Schauspiele der englischen Komödianten. Berlin: 1889.Google Scholar
Dekker, Thomas. The Run-Away’s Answer. N.p. 1625.Google Scholar
Drábek, Pavel, and North, Dan. “‘What Governs Life’: Švankmajer’s Faust in Prague.” Shakespeare Bulletin 29.4 (winter 2011): 525–42.Google Scholar
Fredén, Gustav. Friedrich Menius und das Repertoire der englischen Komödianten in Deutschland. Stockholm: 1939.Google Scholar
Gurr, Andrew. The Shakespearean Stage, 1574–1642. 2nd ed. Cambridge: Cambridge University Press, 1992.Google Scholar
Gurr, Andrew. Shakespeare’s Opposites: The Admiral’s Company, 1594–1625. Cambridge: Cambridge University Press, 2009.Google Scholar
Haekel, Ralf. Die englischen Komödianten in Deutschland: eine Einführung in die Ursprünge des deutschen Berufsschauspiels. Heidelberg: Winter, 2004.Google Scholar
Haldane, Michael. “From Renaissance Augsburg to Jacobean London: The Translation of Place and of Social Relationship in English Fortunatus Adaptations.” Daphnis 36 (2007): 185–222.Google Scholar
Holland, Peter. “Shakespeare Abbreviated.” The Cambridge Companion to Shakespeare in Popular Culture. Ed. Shaughnessy, Robert. Cambridge: Cambridge University Press, 2007. 26–45.Google Scholar
Honigmann, E. A. J. Shakespeare: The “Lost Years.” 2nd ed. Manchester: Manchester UP, 1998.Google Scholar
Jakubcová, Alena, and Pernerstorfer, Matthias J., ed. Theater in Böhmen, Mähren und Schlesien. Von den Anfängen bis zum Ausgang des 18. Jahrhunderts. Ein Lexikon. Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2013.Google Scholar
Jurkowski, Henryk. A History of European Puppetry: From Its Origin to the End of the Nineteenth Century. Lewiston: Edwin Mellen Press, 1996.Google Scholar
Katritzky, M. A. “‘Some tymes J have a shillinge aday, and some tymes nothings, so that J leve in great poverty’: British Actors in the paintings of Frans Hals.” Others and Outcasts in Early Modern Europe: Picturing the Social Margins. Ed. Nichols, Tom. Farnham: Ashgate, 2007. 197–214.Google Scholar
Katritzky, M. A. Women, Medicine and Theatre, 1500–1750: Literary Mountebanks and Performing Quacks. Aldershot: Ashgate, 2007.Google Scholar
Klein (Seidler), Kareen. “Paris, Romio and Julieta: Seventeenth-Century German Shakespeare.” Shakespeare and His Collaborators over the Centuries. Ed. Drábek, Pavel et al. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2008. 85–105.Google Scholar
McCabe, William H. An Introduction to the Jesuit Theater. Ed. Oldani, Louis J., S. J. St. Louis: The Institute of Jesuit Sources, 1983.Google Scholar
McMillin, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Middleton, Thomas. The Collected Works. Gen. ed. Taylor, Gary and Lavagnino, John. Oxford: Oxford University Press, 2007.Google Scholar
Noe, Alfred, ed. Spieltexte der Wanderbühne. Vol. 6. Berlin: Walter de Gruyter, 2007.Google Scholar
Okoń, Jan. Dramat i teatr szkolny [School Drama and Theatre]. Wrocław: Universytet Jagielloński, 1970.Google Scholar
Rudin, Bärbel. “Fräulein Dorothea und Der blaue Montag: Die Diokletianische Christenverfolgung in zwei Repertoirestücken der deutschen Wanderbühne.” Elemente der Literatur: Beiträge zur Stoff-, Motiv- und Themenforschung. Vol. 1. Ed. Bisanz, Adam J. et al. Stuttgart: Kröner, 1980. 95–113.Google Scholar
Rudin, Bärbel. “Das fahrende Volk. Puppenspiel als Metier: Nachrichten und Kommentare aus dem 17. und 18. Jahrhundert.” Kölner Geschichtsjournal 1 (1976). 2–11.Google Scholar
Schindler, Otto G. “‘Englischer Pickelhering – gen Prag jubilierend’. Englische Komödianten als Wegbereiter des deutschen Theaters in Prag.” Deutschsprachiges Theater in Prag. Ed. Jakubcová, Alena, Ludvová, Jitka, and Maidl, Václav. Praha: Divadelní ústav, 2001. 73–101Google Scholar
Schindler, Otto G., and Rudin, Bärbel. “John Green.” Theater in Böhmen, Mähren und Schlesien. Ed. Jakubcová, Alena and Pernerstorfer, Matthias J.. Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2013. 231–33.Google Scholar
Schindler, Otto G. and Rudin, Bärbel. “Robert Browne.” Theater in Böhmen, Mähren und Schlesien. Ed. Jakubcová, Alena and Pernerstorfer, Matthias J.. Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2013. 75–77.Google Scholar
Schrickx, Willem. Foreign Envoys and Travelling Players in the Age of Shakespeare and Jonson. Wetteren: Universa, 1986.Google Scholar
Simons, Joseph. Jesuit Theater Englished: Five Tragedies of Joseph Simons. Ed. Louis J. Oldani, S. J., and Fischer, Philip C., S. J. St. Louis: Institute of Jesuit Sources, 1989.Google Scholar
Speaight, George. The History of the English Puppet Theatre. 2nd ed. London: Robert Hale, 1990.Google Scholar
Spohr, Arne. “How Chances It They Travel?” Englische Musiker in Dänemark und Norddeutschland, 1579–1630. Wolfenbütteler Arbeiten zur Barockforschung 45. Wiesbaden: Harrassowitz Verlag, 2009.Google Scholar
Wikland, Erik. Elizabethan Players in Sweden 1591–92: Facts and Problems. Stockholm: Almqvist & Wiksell, 1971.Google Scholar

Further reading

Drábek, Pavel. “Anglické hry u našich loutkářů a naopak” [English Plays and Czech Marionettists]. Divadelní revue 20.3 (2009): 27–41.Google Scholar
Limon, Jerzy. Gentlemen of a Company: English Players in Central and Eastern Europe, 1590–1660. Cambridge: Cambridge University Press, 1985.Google Scholar

Sources cited

Aldous, Vickie. “OSF Offers Captions for Deaf, Hearing Impaired.” Ashland Daily Tidings 29 March 2010. http://www.dailytidings.com/. Accessed 15 September 2010.Google Scholar
Davis, Lennard. Enforcing Normalcy: Disability, Deafness, and the Body. New York: Verso, 1995.Google Scholar
Harvey, Elizabeth D. “Introduction.” Sensible Flesh: On Touch in Early Modern Culture. Ed. Harvey, Elizabeth D.. Philadelphia: U of Pennsylvania P, 2002.Google Scholar
Ingalls, Zoe. “On Prospero’s Island, Deaf and Hearing Students Learn to Act Together.” Chronicle of Higher Education 14 July 2000: B2.Google Scholar
National Theatre. “Touch Tours.” https://www.nationaltheatre.org.uk. Accessed 1 September 2010.Google Scholar
Neff, Angela. “Seeing Shakespeare: Translations and Performances in American Sign Language.” MA Thesis. U of Wisconsin, Eau Claire, 2006.Google Scholar
Novak, Peter. “Project Description.” ASL Shakespeare Project. Yale University. 8 December 2009. http://www.yale.edu/asl12night/project.html, http://www.aslshakespeare.com.Google Scholar
Peters, Cynthia. Deaf American Literature: From Carnival to the Canon. Washington: Gallaudet UP, 2000.Google Scholar
Royal Shakespeare Company. “Audio Description Introductions: Access Matters.” https://www.rsc.org.uk/your-visit/access. Accessed 1 August 2010.Google Scholar
Sandahl, Carrie. “Considering Disability: Disability Phenomenology’s Role in Revolutionizing Theatrical Space.” Journal of Dramatic Theory and Criticism 16.2 (2002): 17–32.Google Scholar
Terp Theatre. “Shadow Interpreting on the Stage.” http://terptheatre.com/shadowing.html. Accessed 12 August 2010.Google Scholar
Twelfth Night. Dir. Novak, Peter. Perf. Adrian Blue, Peter Cook, and Monique Holt. Washington: Gallaudet UP, 2006.Google Scholar
Udo, John Patrick, and Fels, Deborah I.. “Enhancing the Entertainment Experience of Blind and Low-Vision Theatre Goers Through Touch Tours.” Disability and Society 25.2 (2010). 231–40.Google Scholar
Udo, John Patrick, and Fels, Deborah I.. “‘Suit the Action to the Word, the Word to the Action’: An Unconventional Approach to Describing Shakespeare’s Hamlet.” Digital Commons. Ryerson University, 2009. http://digitalcommons.ryerson.ca/trsitm/16/. Accessed 28 August 2010.Google Scholar
Wright-Meinhardt, Pamela. “A Letter to C. F.” The Deaf Way II Anthology. Ed. Stremlau, Tonya M.. Washington: Gallaudet UP, 2002. 139–41.Google Scholar

Further reading

Bauman, H-Dirksen L., et al., eds. Signing the Body Poetic: Essays on American Sign Language Literature. Berkeley: U of California P, 2006.Google Scholar
Cintas, Jorge Díaz, et al., eds. Media for All: Subtitling for the Deaf, Audio Description, and Sign Language. Amsterdam: Rodopi, 2007.Google Scholar
Davis, Lennard J., ed. The Disability Studies Reader. 3rd ed. New York: Routledge, 2010.Google Scholar
De Jong, Lynda. “Bringing Theater to Life for the Deaf, Blind: College Programs Use Tactile Interpreters.” Deaf-Blind American 37.3 (1999): 15–17.Google Scholar
Glennie, Evelyn. “Hearing Essay.” http://www.evelyn.co.uk/Evelyn_old/live/hearing_essay.htm. Accessed 8 November 2009.Google Scholar
Kochhar-Lindgren, Kanta. “Hearing Difference across Theatres: Experimental, Disability, and Deaf Performance.” Theatre Journal 58.3 (2006): 417–36.Google Scholar
National Endowment for the Arts. Design for Accessibility: A Cultural Administrator’s Handbook. 2003 version. https://www.arts.gov/. Accessed 23 August 2010.Google Scholar
Novak, Peter. “Visual Shakespeare: Twelfth Night and the Value of Translation.” Signs and Voices: Deaf Culture, Identity, Language, and Arts. Ed. Lindgren, Kristin A. et al. Washington: Gallaudet UP, 2008. 220–31.Google Scholar
Sandahl, Carrie, and Auslander, Philip, eds. Bodies in Commotion: Disability and Performance. Ann Arbor: U of Michigan P, 2005.Google Scholar
Smith, Bruce R. Phenomenal Shakespeare. Malden: Wiley-Blackwell, 2010.Google Scholar

Sources cited

Brown, Bill. “Thing Theory.” Critical Inquiry 28.1 (2001): 1–22.Google Scholar
Carroll, Tim. “Practising Behaviour to His Own Shadow.” Shakespeare’s Globe: A Theatrical Experiment. Ed. Carson, Christie and Karim-Cooper, Farah. Cambridge: Cambridge University Press, 2008. 37–44.Google Scholar
Escolme, Bridget. Talking to the Audience: Shakespeare, Performance, Self. London: Routledge, 2005.Google Scholar
Etchells, Tim. “Tim Etchells on Performance: National Review of Live Art Meets a Bloody End. Thirty Years of Past Performers Came Together for the Final NRLA Glasgow, While a Savagely Gory Ron Athey Sealed the Festival’s Legendary Status.” The Guardian 25 March 2010. http://www.theguardian.com/stage/2010/mar/24/national-review-of-live-art-ron-athey. Accessed 30 November 2014.Google Scholar
Gravelle, Trystan. End of Season Interview. London: Shakespeare’s Globe Library and Archives, 2009.Google Scholar
Greenfield, Jon. “Design as Reconstruction, Reconstruction as Design.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R., Shewring, Margaret, and Gurr, Andrew. Cambridge: Cambridge University Press, 1997. 81–97.Google Scholar
Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. Cambridge: Cambridge University Press, 2009.Google Scholar
Measure for Measure. By Shakespeare, William. BBC production, presented by Andrew Marr. Shakespeare’s Globe, London. 4 September 2004.Google Scholar
Nashe, Thomas. Pierce Pennilesse. Works. Ed. McErrow, R. B.. 5 vols. Oxford: Blackwell, 1966.Google Scholar
Prescott, Paul. “Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing.” A Companion to Shakespeare in Performance. Ed. Hodgdon, Barbara. Oxford: Blackwell, 2006. 359–74.Google Scholar
Weever, John. The Mirror of Martyrs, or the life and death of that thrice valiant Capitaine, and most godly Martyre Sir John Oldcastle knight Lord Cobham. London: 1601.Google Scholar
Witmore, Michael. Culture of Accidents: Unexpected Knowledge in Early Modern England. Stanford: Stanford UP, 2001.Google Scholar
Woods, Penelope. Globe Audience: Spectatorship and Reconstruction at Shakespeare’s Globe. Unpublished PhD Thesis, Department of Drama, Queen Mary, University of London and Shakespeare’s Globe. Audio archive held by Shakespeare’s Globe Library and Archives.Google Scholar
Worthen, W. B. Shakespeare and the Force of Modern Performance. Cambridge: Cambridge University Press, 2003.Google Scholar

Further reading

Bailes, Sara Jane. Performance Theatre and the Poetics of Failure. London: Taylor and Francis, 2010.Google Scholar
Bennett, Susan. Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London: Routledge, 1996.Google Scholar
Chambers, E. K. The Elizabethan Stage. 2nd ed. 4 vols. Oxford: Oxford UP, 2009.Google Scholar
Carson, Christie, and Karim-Cooper, Farah, eds. Shakespeare’s Globe: A Theatrical Experiment. Cambridge: Cambridge University Press, 2008.Google Scholar
Gurr, Andrew. Playgoing in Shakespeare’s London. 2nd ed. Cambridge: Cambridge University Press, 1996.Google Scholar
Jauss, Hans Robert. Towards an Aesthetics of Reception. Trans. Bahti, Timothy. Brighton: Harvester, 1982. (On the “horizon of expectations,” see 20.)Google Scholar
Kirshenblatt-Gimblett, Barbara. “Theorizing Heritage.” Ethnomusicology 39.3 (1995): 367–80.Google Scholar
Knowles, Ric. Reading the Material Theatre. Cambridge: Cambridge University Press, 2004. (On cultural materialism, see 12–15.)Google Scholar
Lopez, Jeremy. “A Partial Theory of Original Practice.” Shakespeare Survey 61 (2008): 302–17.Google Scholar
Meyer-Eppler, Werner. “Statistic and Psychologic Problems of Sound.” Trans. Goehr, Alexander. Die Riehe 1 (1957): 55–61.Google Scholar
Pine, Joseph B. II, and Gilmore, James. The Experience Economy: Work Is Theatre and Every Theatre Is a Stage. Boston: Harvard Business Review Press, 2011.Google Scholar
Ridout, Nicholas. Stage Fright, Animals and Other Theatrical Problems. Cambridge: Cambridge University Press, 2006.Google Scholar
Mark, Rylance, Vazquez, Yolanda, and Chahidi, Paul. “Discoveries from the Globe Stage.” Shakespeare’s Globe: A Theatrical Experiment. Ed. Carson, Christie and Karim-Cooper, Farah. Cambridge: Cambridge University Press, 2008. 194–210.Google Scholar
The Shakespeare’s Globe Library and Archives (SGLA) holds End of Season Interviews, Front of House Reports, and Penelope Woods’s PhD Thesis Audio Archive. Access to the consultancy report on Globe audiences may be sought through the Library and Archives under Audiences London, Shakespeare’s Globe Audiences, London, 2006.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×