Brief Notices
- Brief Notices
This volume begins with a list of figures (vii–viii), notes on contributors (ix–xii), acknowledgments (xiii), and an introduction by the editors (1–14). The primary text includes essays in three parts. Part 1, “Powerful Faces,” includes: Sibylle Baumbach, “‘Thy face is mine’: Faces and Fascinations in Shakespeare’s Plays” (15–28); Farah Karim-Cooper, “Fashioning the Face: Embodiment and Desire in Early Modern Poetry” (29–42); Loreen L. Giese, “Facing Marital Cruelty in Shakespeare’s The Taming of the Shrew and Early Modern London” (43–60). Part 2, “Signifying Faces,” includes: Sean Lawrence, “The Two Faces of Othello” (61–74); David B. Goldstein, “Facing King Lear” (75–91); Vanessa Corredera, “Complex Complexions: The Facial Signification of the Black Other in Lust’s Dominion” (93–114). Part 3, “Staged Faces,” includes: Catherine Loomis, “‘I knew by his face there was something in him’: Buried Stage Directions and Authorial Control” (115–26); Penelope Woods, “The Play of Looks: Audience and the Force of the Early Modern Face” (127–50); Yolana Wassersug, “‘The counterfeit presentment of two brothers’: The Power of Portraits in Hamlet” (151–62); Hillary M. Nunn and Aaron Hubbard, “‘This painting wherein you see me smeared’: Francis Bacon, Coriolanus, and the Brutality of Facialization” (163–78). The text concludes with an afterword by Michael Neill (179–84), a bibliography (185–200), and an index (201–8).
This volume begins with a preface by Thomas Postlewait (v–x) and acknowledgments (xi–xvi). The primary text includes the following chapters: Willmar Sauter, “The Rediscovery of the Drottningholm Court Theatre” (1–12); Willmar Sauter, “A Guided Tour of the Theatre” (13–46); David Wiles, “A Visit to the Opera at Drottningholm: First Impressions” (47–58); Willmar Sauter, “Eighteenth-Century Court Life” (59–102); David Wiles, “A Typical ‘Baroque’ Theatre” (103–40); Willmar Sauter, “Drottningholm in the Twentieth Century and Beyond” (141–84); David Wiles, “Eighteenth-Century Acting: The Search for Authenticity” (185–214); Willmar Sauter and David Wiles, “Toward the [End Page 129] Future” (215–28). The text concludes with appendices (229–36), notes (237–54), a bibliography (255–61), a list of illustrations (262–69), a list of repertoire during Gustavian period (270–72), a list of repertoire since 1922 (273–88), and an index (289–96).
This volume begins with a preface, “A Personal Search for the Theatre of the People” (ix–xvi) and acknowledgments (xvii–xx). The primary text includes the following chapters: “The Actor-Manager’s Temperament” (1–10); “Hamlet at the Malvern Festival Theatre, October 1937” (11–24); “Selections from Shakespeare at the Strand Theatre, 1940–1941” (25–38); “Richard III at St. Francis Theatre, Letchworth, September 1941” (39–52); “A Midsummer Night’s Dream at the Prince of Wales Theatre, Cardiff, August 1942” (53–66); “The Merchant of Venice at the Opera House, Manchester, October 1943” (67–80); “King Lear at the Scala Theatre, London, April 1944” (81–94); “Twelfth Night at the Grand Theatre, Leeds, October 1945” (95–110); “Othello at the King’s Theatre, Glasgow, November 1946” (111–22); “As You Like It at His Majesty’s Theatre, Montreal, January, March 1947” (123–36); “The Merry Wives of Windsor at the Bedford Theatre, Camden Town, March 1949” (137–50); “Macbeth at the Dudley Hippodrome, October 1950” (151–64); “The Taming of the Shrew at the King’s Theatre, Hammersmith, April 1953” (165–78); “The Legacy” (179–90). The text concludes with works cited (191–212), an index (213–18), and about the author (219).
This volume begins with acknowledgments (vii) and an introduction by the editor (1–12). The primary text includes the following essays: Jerry Wasserman, “Walsh and...
