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Volume 30, Number 3, Fall 2012

Table of Contents


Did Shakespeare’s Company Cut Long Plays Down to Two Hours Playing Time?

pp. 239-262 | DOI: 10.1353/shb.2012.0057

“Posterity is dispossessed”: Laurence Olivier’s Macbeth Manuscripts in 1958 and 2012

pp. 263-297 | DOI: 10.1353/shb.2012.0060

“Know that I, Ringo the drummer, am”: Shakespeare, YouTube, and the Limits of Performance

pp. 299-318 | DOI: 10.1353/shb.2012.0063

Theatre Reviews

Richard III (review)

pp. 319-322 | DOI: 10.1353/shb.2012.0050

’Tis Pity She’s a Whore (review)

pp. 322-324 | DOI: 10.1353/shb.2012.0052

Love’s Labor’s Lost, and: Titus Andronicus, and: King Lear (review)

pp. 325-334 | DOI: 10.1353/shb.2012.0054

King Lear (review)

pp. 334-338 | DOI: 10.1353/shb.2012.0056

Richard II (review)

pp. 339-344 | DOI: 10.1353/shb.2012.0059

Hamlet (review)

pp. 344-347 | DOI: 10.1353/shb.2012.0062

Romeo and Juliet, and: Cymbeline (review)

pp. 347-353 | DOI: 10.1353/shb.2012.0049

The Tempest (review)

pp. 353-358 | DOI: 10.1353/shb.2012.0051

The Tempest (review)

pp. 358-361 | DOI: 10.1353/shb.2012.0053

Desdemona (review)

pp. 361-365 | DOI: 10.1353/shb.2012.0055

A Midsummer Night’s Dream, and: Coriolanus, and: As You Like It (review)

pp. 365-377 | DOI: 10.1353/shb.2012.0058

Book Review

Religion and Drama in Early Modern England (review)

pp. 379-382 | DOI: 10.1353/shb.2012.0061

Research Areas


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