Shakespeare in Parts

Shakespeare in Parts

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A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to
furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. It demanded the most sensitive attention to the opportunities
inscribed in the script, and to the ongoing dramatic moment. Here is where the young actor Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam.

This is the story of Shakespeare in Parts. As Shakespeare developed his playwriting, the apparent limitations of the medium get transformed into expressive opportunities. Both cue and speech become promise-crammed repositories of meaning and movement, and of individually discoverable space and time. Writing always for the same core group of players, Shakespeare could take - and insist upon - unprecedented risks. The result is onstage drama of astonishing immediacy.

Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's mould-altering work of historical and imaginative recovery provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.
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Product details

  • Paperback | 560 pages
  • 155 x 234 x 32mm | 864g
  • Oxford, United Kingdom
  • English
  • 0199591105
  • 9780199591107
  • 1,137,869

Table of contents

INTRODUCTION ; I: HISTORY ; 1. The Actor's Part ; 2. The Actors ; 3. Rehearsing and Performing ; II: INTERPRETING CUES ; 4. History of the Cue ; 5. Interpreting Shakespeare's Cues ; 6. Cues and Characterisation ; 7. Waiting and Suddenness: the Part in Time ; 8. Repeated Cues ; 9. Repeated cues: from Crowds to Clowns ; 10. Repeated cues: comi-tragic/tragic-comic pathos ; 11. Repeated cues and the battle for the cue-space: The Merchant of Venice ; 12. Repeated cues and tragedy ; 13. Repeated cues and the cue-space in King Lear ; 14. Repeated cues and post-tragic effects ; 15. Repeated Cues and the Cue-Space in The Tempest ; III: THE ACTOR WITH HIS PART ; 16. History ; 17. Dramatic prosody ; 18. Prosodic Switches: From Actor's Prompt to Absent Presence ; 19. Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence ; 20. Case studies: six romantic heroines and three lonely men
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Review quote

this is a lucid and persuasive study that successfully infuses academic Shakespeare with the vibrancy and insecurity of live performance: "Shakespeare's actors had to play their parts now, perilously in the present." * Peter J. Smith, THES * a groundbreaking new study...The consideration of characters and their textual construction is a revelation. ..The book is exactly as scrupulous and thorough as the subject deserves...For professional Shakespeareans in the theatre or the university, it is required reading. * Tom Cornford, Around the Globe * stunningly fresh and rewarding...among the field's finest scholarly monographs this year. * Paul Whitfield White, Studies in English Literature * undeniably of major importance. * Paul Dean, English Studies * Rarely has so much new and exciting information about Shakespeare been gathered in a single study. The challenges of this book for how we conceive of, teach, write about and perform Shakespeare will surely be felt for years to come. * Douglas Bruster, The Review of English Studies * Review from previous edition Elegantly written...a ground-breaking study, which shows how Shakespeare the technician sought always to expand the mental possibilities for the actors. * Ralph Berry, Contemporary Review *
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Rating details

16 ratings
4.5 out of 5 stars
5 62% (10)
4 25% (4)
3 12% (2)
2 0% (0)
1 0% (0)
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