Fangs Of Malice: Hypocrisy Sincerity And Acting

Acknowledgments

Acknowledgments Thanks are especially due to the librarians of the libraries where I have been made welcome: the University of Michigan Graduate Library, the University of Toledo Libraries, the Williams College Library, and the Cambridge University Library. The Newberry Library made an extended visit possible with a Short Term Fellowship in the summer of 1996. The University of Toledo has supported this project through the sabbatical leave program, the summer research fellowships program, and the Small Grants Program of the Office of Research. I am especially indebted to the Humanities Institute of the University of Toledo, which has offered me the opportunity to develop this work all along the way: I first tried out some of the ideas as Distinguished Humanities Lecturer in 1992 and was able to present some of the last phases of the project as Distinguished Doermann Lecturer in 2001. To my colleagues in the Humanities Institute Anniversary Seminar I am especially grateful: Friedrike Emonds, Peter Linebaugh, Sara Lundquist , Susan Purviance, and Dan Watermeier. Richard Axton made my stay at Cambridge particularly memorable by generously permitting me the use of his office and by entrusting his students to my supervision in the spring of 1995. I have presented portions of this work at meetings of the Shakespeare Association of America and the American Society for Theatre Research, and I am grateful to Donald Morse of Oakland University for inviting me to Rochester and to the symposium at Williams College which he organized in honor of Don Gifford. Laurence Senelick at Tufts University and Jeffrey Ravel at Oberlin College also gave me opportunities to discuss my work with faculty and students . Michael Manheim goaded me into writing about Eugene O’Neill for The Cambridge Companion to O’Neill, and a revised version of the essay published in that volume appears here with the permission of the Cambridge University Press. Portions of Act One and Act Two have previously been published by Comparative Drama and appear here in revised form with the permission of the editors. David Bevington, Michael Goldman, and Martin Meisel have all been most generous in their encouragement and support. My students have always kept my ideas from sitting still, and I especially want to recognize four whose participation in Henry IV seminars over the years has helped to shape my thought: Celia Maddox, Page Elrod, Christopher Herr, and Joseph Sullivan. My fellow members of the North Coast Theatre Acting Ensemble always surprise me with their Protean inventiveness: David Clark, David Dysard, Chris Herr, Madge Levinson, Nora Warejko, and Irina Zaurov. Tom Postlewait’s contribution to the final shape of this book is immeasurable; Barbara Hodgdon’s thorough and generous critique of the manuscript came at just the right time in many ways. The errors and infelicities that remain are all my own. John Styan’s inspiration and example have always shaped my engagement with drama. I dedicate this book to Christine Child, playwright, director, and spouse. x ] acknowledgments ...