Search results for ""Author June Schlueter""

This collection presents twenty essays on twentieth-century plays by women, from Rachel Crothers to Meredith Monk, as well as overview essays on their predecessors. At least a dozen of the essays explicitly treat particular women’s texts as dramas of rejection and rebellion.

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A new source for Shakespeare's plays, only recently uncovered, is investigated here with a full edition and facsimile of the text. New sources for Shakespeare do not turn up every day... This is a truly significant one that has not heretofore been studied or published. The list of passages now traced back to this source is impressive. - David Bevington, Professor Emeritus, University of Chicago "A Brief Discourse of Rebellion and Rebels" is the only uniquely existent, unpublished manuscript that can be shown to have been a source for Shakespeare's plays. George North wrote the treatise in 1576 while at Kirtling Hall, the North family estate in Cambridgeshire. His manuscript, newly uncovered by the authors at the British Library, has many implications for our understanding of Shakespeare's plays. for example, not only does it bring clarity to the Fool's mysterious reference to Merlin in King Lear, but also upsets the prevailing opinion that Shakespeare invented the final hours of Jack Cade in 2 Henry VI. Linguistic and thematic correspondences between the North manuscript and Shakespeare's plays make it clear that the playwright borrowed from this document in other plays as well, including Richard III, 3 Henry VI, Henry V, King John, Macbeth, and Coriolanus. The opening chapters of the book investigate such connections; the volume also contains both a transcript and a facsimile of "A Brief Discourse", making this previously unknown document readily available. DENNIS MCCARTHY is an independent scholar; JUNE SCHLUETER is Charles A. Dana Professor Emerita of English at Lafayette College, Easton, Pennsylvania.

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This book assembles a cast of sixteen distinguished theater historians and performance critics, each of whom has contributed significantly to our understanding of issues associated with performing works of Shakespeare and his contemporaries. Their essays, all appearing in print for the first time, are presented in two groupings: a theater history and practice section, in which contributors examine matters related to performance in Shakespeare's time and our own, and a performance criticism section, in which contributors treat modern productions on stage and screen. In the theater history and practice section, Roslyn L. Kutson explores the 1599-1600 repertory of the Admiral's Men and the Chamberlain's Men, who performed in rival playhouses. Jay L. Halio studies playbooks to see how successive generations of actor, managers and directors modified the Shakespearean 'original' and how productions reflected such change. Alan C. Dessen investigates how scripted allusion and stage direction figure into patterns of production in the plays of Thomas Heywood. Focusing on evidence in 'A Warning for Fair Women', Andrew Gurr probes a playhouse practice of hanging the stage with black fabric to signal that the play was a tragedy. And Maurice Charney, engaging modern translations, delivers readers into the world of Shakespeare bardolatry. Variety defines the second section, which offers analyses of plays mediated by performance. Several essays focus on interpretive acts brought to particular scripts—Timon of Athens, King Lear, The Taming of the Shrew, A Midsummer Night;s Dream, The Merchant of Venice, Hamlet, Philip Massinger's The Roman Actor—while others examine stage and screen adaptations and offshoots, such as LInda Mussmann's M.A.C.B.E.T.H, Rome Neal's Julius Ceasar Set in Africa, Gil Juner's film 10 Things I Hate About You, and Tim Blake Nelson's movie O. Contributors to this section include John Timpane, Frances K. Barasch, Charles A. Hallett, Edward L. Rocklin, Michael D

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