<p><i>List of Illustrations ix</i></p> <p><i>Notes on Contributors xi</i></p> <p><i>Acknowledgments xvi</i></p> <p>Introduction: A Kind of History 1<br /> <i>Barbara Hodgdon</i></p> <p><b>Part I Overviews: Terms of Performance 11</b></p> <p>1 Reconstructing Love: King Lear and Theatre Architecture 13<br /> <i>Peggy Phelan</i></p> <p>2 Shakespeare’s Two Bodies 36<br /> <i>Peter Holland</i></p> <p>3 Ragging Twelfth Night: 1602, 1996, 2002–3 57<br /> <i>Bruce R. Smith</i></p> <p>4 On Location 79<br /> <i>Robert Shaughnessy</i></p> <p>5 Where is Hamlet? Text, Performance, and Adaptation 101<br /> <i>Margaret Jane Kidnie</i></p> <p>6 Shakespeare and the Possibilities of Postcolonial Performance 121<br /> <i>Ania Loomba</i></p> <p><b>Part II Materialities: Writing and Performance 139</b></p> <p>7 The Imaginary Text, or the Curse of the Folio 141<br /> <i>Anthony B. Dawson</i></p> <p>8 Shakespearean Screen/Play 162<br /> <i>Laurie E. Osborne</i></p> <p>9 What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet 179<br /> <i>Simon Palfrey and Tiffany Stern</i></p> <p>10 Editors in Love? Performing Desire in Romeo and Juliet 197<br /> <i>Wendy Wall</i></p> <p>11 Prefixing the Author: Print, Plays, and Performance 212<br /> <i>W. B. Worthen</i></p> <p><b>Part III Histories 231</b></p> <p>12 Shakespeare the Victorian 233<br /> <i>Richard W. Schoch</i></p> <p>13 Shakespeare Goes Slumming: Harlem ’37 and Birmingham ’97 249<br /> <i>Kathleen McLuskie</i></p> <p>14 Stanislavski, Othello, and the Motives of Eloquence 267<br /> <i>John Gillies</i></p> <p>15 Shakespeare, Henry VI and the Festival of Britain 285<br /> <i>Stuart Hampton-Reeves</i></p> <p>16 Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival 297<br /> <i>Ric Knowles</i></p> <p>17 Performance as Deflection 319<br /> <i>Miriam Gilbert</i></p> <p>18 Maverick Shakespeare 335<br /> <i>Carol Chillington Rutter</i></p> <p>19 Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing 359<br /> <i>Paul Prescott</i></p> <p>20 Performing History: Henry IV, Money, and the Fashion of the Times 376<br /> <i>Diana E. Henderson</i></p> <p><b>Part IV Performance Technologies, Cultural Technologies 397</b></p> <p>21 ‘‘Are We Being Theatrical Yet?’’: Actors, Editors, and the Possibilities of Dialogue 399<br /> <i>Michael Cordner</i></p> <p>22 Shakespeare on the Record 415<br /> <i>Douglas Lanier</i></p> <p>23 SShockspeare: (Nazi) Shakespeare Goes Heil-lywood 437<br /> <i>Richard Burt</i></p> <p>24 Game Space/Tragic Space: Julie Taymor’s Titus 457<br /> <i>Peter S. Donaldson</i></p> <p>25 Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture 478<br /> <i>Elizabeth A. Deitchman</i></p> <p>26 Shakespeare on Vacation 494<br /> <i>Susan Bennett</i></p> <p><b>Part V Identities of Performance 509</b></p> <p>27 Visions of Color: Spectacle, Spectators, and the Performance of Race 511<br /> <i>Margo Hendricks</i></p> <p>28 Shakespeare and the Fiction of the Intercultural 527<br /> <i>Yong Li Lan</i></p> <p>29 Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare’s Globe 550<br /> <i>G. B. Shand</i></p> <p>30 Queering the Audience: All-Male Casts in Recent Productions of Shakespeare 564<br /> <i>James C. Bulman</i></p> <p>31 A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland 588<br /> <i>Courtney Lehmann</i></p> <p>32 Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions 610<br /> <i>Joanne Tompkins</i></p> <p><b>Part VI Performing Pedagogies 625</b></p> <p>33 Teaching Through Performance 627<br /> <i>James N. Loehlin</i></p> <p>34 ‘‘The eye of man hath not heard, / The ear of man hath not seen’’: Teaching Tools for Speaking Shakespeare 644<br /> <i>Peter Lichtenfels</i></p> <p><i>Index 659</i></p>