Front Matter
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Table of Contents
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FIGURES
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ACKNOWLEDGMENTS
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INTRODUCTION
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THE PLAY’S NOT THE ONLY THING
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GLOBAL OTHELLO, THEN AND NOW:: The 2015 Royal Shakespeare Company Production in Context
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SHAKESPEARE, SPECTATORS, AND THE MEANING OF RACE ON STAGE
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“THE SLUTTY CLOWN SPEAKS THE PROLOGUE”:: Cross-Gender Casting on the Toronto Stage
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TWO PRODUCTIONS OF THE TWO GENTS:: From the Globe Stage to the Royal Shakespeare Company, 2012–2014
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EMBODYING THE SEA:: Shakespeare and Physical Theatre
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Introduction
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SHAKESPEARE’S SOCIAL WORK:: From Displacement to Placement in Twelfth Night
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LESSONS FROM A STREET FIGHTER:: Reconsidering Romeo and Juliet
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ROOTING FOR SHAKESPEARE:: Cooking through Timon of Athens
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“REDEEMING TIME”:: The Dramatization of Desistance in 1 Henry IV
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NUTSHELLS AND OPEN TRIALS:: Editing and Cinematography in Live Broadcast Shakespeare
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FILMING THEATRE:: A Tale of Two Merchants
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SHAKESPEARE ADAPTATION IN THE AGE OF THE CAMERA PHONE:: Spectacle and Experimental Seeing in Ralph Fiennes’s Coriolanus
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THE INDIAN SHAKESPEARE TRILOGY:: Maqbool, Omkara, and Haider
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QUEERING WILL AND KIT:: Slash and the Shakespeare Biopic
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STAR TREK’S SHAKESPEARE PROBLEM
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RETELLING MACBETH FOR THE DIGITAL AGE:: The Multimodal Poetics of Sleep No More
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SQUARE BRACKETS AND PERFORMANCE CHOICES:: Considering the Shakespearean Stage Direction
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“NOR UNDERSTOOD NONE NEITHER”:: Why It Might Be Time to Think Seriously about Shakespeare in Modern English
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CONTRIBUTORS
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INDEX
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