Book contents
- Frontmatter
- Professional Players in the Guild Hall, Stratford-upon-Avon, 1568–1597
- Reconstructing The Rose: Development of the Playhouse Building between 1587 and 1592
- The Rose and its Stages
- Philip Henslowe and the Elizabethan Court
- From Revels to Revelation: Shakespeare and the Mask
- Bride-ing the Shrew: Costumes that Matter
- ‘When Men and Women are Alone’: Framing the Taming in India
- The Crown and the Pillow: Royal Properties in Henry IV
- Humanity at Stake: Man and Animal in Shakespeare’s Theatre
- Popular Shakespeare in Japan
- ‘Philosophy in a Gorilla Suit’: Do Shakespearians Perform or Just Perform-a-tive?
- Sudokothellophobia: Writing Hypertextually, Performatively
- Living Monuments: The Spatial Politics of Shakespeare’s Rome on the Contemporary Stage
- ‘In Windsor Forest and at the Boar’s Head’: The ‘Falstaff Plays’ and English Music in the Early Twentieth Century
- Michael Bogdanov in Conversation
- The Mouse and the Urn: Re-Visions of Shakespeare from Voltaire to Ducis
- ‘I covet your skull’: Death and Desire in Hamlet
- Martin Droeshout Redivivus: Reassessing the Folio Engraving of Shakespeare
- Canonizing Shakespeare: The Passionate Pilgrim, England’s Helicon and the Question of Authenticity
- Rereading Shakespeare: The Example of Richard Brathwait
- Shakespeare Performances in England, 2006: January 2006
- Professional Shakespeare Productions in the British Isles January–December 2005
- he Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Index
Shakespeare Performances in England, 2006: January 2006
Published online by Cambridge University Press: 28 November 2007
- Frontmatter
- Professional Players in the Guild Hall, Stratford-upon-Avon, 1568–1597
- Reconstructing The Rose: Development of the Playhouse Building between 1587 and 1592
- The Rose and its Stages
- Philip Henslowe and the Elizabethan Court
- From Revels to Revelation: Shakespeare and the Mask
- Bride-ing the Shrew: Costumes that Matter
- ‘When Men and Women are Alone’: Framing the Taming in India
- The Crown and the Pillow: Royal Properties in Henry IV
- Humanity at Stake: Man and Animal in Shakespeare’s Theatre
- Popular Shakespeare in Japan
- ‘Philosophy in a Gorilla Suit’: Do Shakespearians Perform or Just Perform-a-tive?
- Sudokothellophobia: Writing Hypertextually, Performatively
- Living Monuments: The Spatial Politics of Shakespeare’s Rome on the Contemporary Stage
- ‘In Windsor Forest and at the Boar’s Head’: The ‘Falstaff Plays’ and English Music in the Early Twentieth Century
- Michael Bogdanov in Conversation
- The Mouse and the Urn: Re-Visions of Shakespeare from Voltaire to Ducis
- ‘I covet your skull’: Death and Desire in Hamlet
- Martin Droeshout Redivivus: Reassessing the Folio Engraving of Shakespeare
- Canonizing Shakespeare: The Passionate Pilgrim, England’s Helicon and the Question of Authenticity
- Rereading Shakespeare: The Example of Richard Brathwait
- Shakespeare Performances in England, 2006: January 2006
- Professional Shakespeare Productions in the British Isles January–December 2005
- he Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Index
Summary
JANUARY 2006
Well before its inauguration, the RSC’s Complete Works Festival – a drive to stage or host productions of every play in the canon in Stratford between April 2006 and April 2007 – is already making 2006 an unusual year for the classical repertory in England. For one thing, it results in there being no Shakespeare at all on offer in Stratford for the first three months of the year, with the RSC playing adaptations of Chaucer and Dickens (reserve national poets?) while they gather their resources for what the publicity department is calling The Essential Year. The company administrators with whom I have corresponded sound slightly perplexed and, looking at the intricacy of the Complete Works Festival performance schedule available on the company’s website I can see why. Every Stratford venue possible has been mobilized: productions are to be mounted in the Royal Shakespeare Theatre (prior to its closure for internal remodelling); in the Swan; in the temporary 900-seat Courtyard Theatre (a large corrugated steel shell occupying the Other Place car-park, due on completion to open with a revival of Michael Boyd’s production of the first tetralogy of histories, described in Survey 55); and, as if just to demonstrate which organization is the real spiritual and temporal power in Stratford-upon-Avon nowadays, the RSC has even gone beyond their own premises to borrow an extra performance space from the Church of England, conscripting Holy Trinity Church for a very brief run of Henry VIII in the late summer. One other local body has mucked in too: what is perhaps the least popular play in the canon, Timon of Athens, is to have a short autumn run in the Birthplace Trust’s little lecture hall at the Shakespeare Centre on Henley Street.
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- Shakespeare Survey , pp. 284 - 319Publisher: Cambridge University PressPrint publication year: 2007
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