LEADER 03407nam 2200505 450 001 9910634085403321 005 20221216024656.0 024 7 $a10.5040/9781350051379 035 $a(CKB)4100000011457965 035 $a(OCoLC)1127126859 035 $a(UkLoBP)9781350051379 035 $a(EXLCZ)994100000011457965 100 $a20191121d2019 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $2rdacontent 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 00$aRethinking theatrical documents in Shakespeare's England /$fedited by Tiffany Stern 205 $aFirst edition. 210 1$aLondon England :$cThe Arden Shakespeare,$d2019. 210 2$aLondon :$cBloomsbury Publishing,$d2019. 215 $a1 online resource (287 pages) $cillustrations (black and white) 311 $a1-350-05137-3 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- Part One: Documents Before Performance. 1. Writing a Play with Robert Daborne: Lucy Munro. 2. A Sharers' Repertory: Holger Syme. 3. Parts and the Playscript: Seven Questions: James J. Marino. 4. Undocumented: Improvisation, Rehearsal and the Clown: Richard Preiss -- Part Two: Documents of Performance. 5. 'Rethinking Prologues on Page and Stage': Sonia Massai and Heidi Craig. 6. Title-and Scene-Boards: The Largest, Shortest Documents: Matt Steggle. 7. 'What is a staged book? Books as 'Actors' in the Early Modern English Theatre' -- Part Three: Documents After Performance. 8. Flowers for English Speaking: Play Extracts and Conversation: Andra?s Kise?ry. 9. Shakespearean Extracts and the Misrepresentation of the Archive: Laura Estill. 10. Typography After Performance: Claire M. L. Bourne. 11. Shakespeare the Balladmonger: Tiffany Stern -- Part Four: Documents Beyond Performance. 12. Lost Documents, Absent Documents, Forged Documents: Roslyn Knutson and David McInnis. 13. Afterward: Peter Holland. 330 $aRethinking Theatrical Documents brings together fifteen major scholars to analyse and theorise the documents, lost and found, that produced a play in Shakespeare's England. Showing how the playhouse frantically generated paratexts, it explores a rich variety of entangled documents, some known and some unknown: from before the play (drafts, casting lists, actors' parts); during the play (prologues, epilogues, title-boards); and after the play (playbooks, commonplace snippets, ballads) - though 'before', 'during' and 'after' intertwine in fascinating ways. By using collective intervention to rethink both theatre history and book history, it provides new ways of understanding plays critically, interpretatively, editorially, practically and textually. 606 $aTheater$zEngland$xHistory$y16th century$xSources 606 $aTheater$zEngland$xHistory$y16th century 606 $aTheater$zEngland$xHistory$y17th century$xSources 606 $aTheater$zEngland$xHistory$y17th century 615 0$aTheater$xHistory$xSources. 615 0$aTheater$xHistory 615 0$aTheater$xHistory$xSources. 615 0$aTheater$xHistory 676 $a792.094209031 702 $aStern$b Tiffany 801 0$bUKMGB 801 1$bCaBNVSL 801 2$bUkLoBP 906 $aBOOK 912 $a9910634085403321 996 $aRethinking Theatrical Documents in Shakespeare's England$91912227 997 $aUNINA