1. Did Shakespeare’s Company Cut Long Plays Down to Two Hours Playing Time?
  2. Steven Urkowitz
  3. pp. 239-262
  4. DOI: 10.1353/shb.2012.0057
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  1. “Posterity is dispossessed”: Laurence Olivier’s Macbeth Manuscripts in 1958 and 2012
  2. Jennifer Barnes
  3. pp. 263-297
  4. DOI: 10.1353/shb.2012.0060
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  1. “Know that I, Ringo the drummer, am”: Shakespeare, YouTube, and the Limits of Performance
  2. Louise Geddes
  3. pp. 299-318
  4. DOI: 10.1353/shb.2012.0063
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  1. Richard III (review)
  2. Katharine Goodland
  3. pp. 319-322
  4. DOI: 10.1353/shb.2012.0050
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  1. ’Tis Pity She’s a Whore (review)
  2. Steve Mentz
  3. pp. 322-324
  4. DOI: 10.1353/shb.2012.0052
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  1. Love’s Labor’s Lost, and: Titus Andronicus, and: King Lear (review)
  2. Gavin Hollis
  3. pp. 325-334
  4. DOI: 10.1353/shb.2012.0054
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  1. King Lear (review)
  2. Peter Kirwan
  3. pp. 334-338
  4. DOI: 10.1353/shb.2012.0056
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  1. Richard II (review)
  2. José A. Pérez Díez
  3. pp. 339-344
  4. DOI: 10.1353/shb.2012.0059
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  1. Hamlet (review)
  2. Amy Rodgers
  3. pp. 344-347
  4. DOI: 10.1353/shb.2012.0062
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  1. Romeo and Juliet, and: Cymbeline (review)
  2. John King
  3. pp. 347-353
  4. DOI: 10.1353/shb.2012.0049
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  1. The Tempest (review)
  2. Yu Jin Ko
  3. pp. 353-358
  4. DOI: 10.1353/shb.2012.0051
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  1. The Tempest (review)
  2. Boika Sokolova, Nicoleta Cinpoeş
  3. pp. 358-361
  4. DOI: 10.1353/shb.2012.0053
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  1. Desdemona (review)
  2. Katherine Steele Brokaw
  3. pp. 361-365
  4. DOI: 10.1353/shb.2012.0055
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  1. A Midsummer Night’s Dream, and: Coriolanus, and: As You Like It (review)
  2. Michael W. Shurgot
  3. pp. 365-377
  4. DOI: 10.1353/shb.2012.0058
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  1. Religion and Drama in Early Modern England (review)
  2. Alice Dailey
  3. pp. 379-382
  4. DOI: 10.1353/shb.2012.0061
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