Shakespeare in performance - Knowledge (XXG)

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dress. It was not until centuries after his death, primarily the 19th Century, that productions started looking back and tried to be "authentic" to a Shakespearean style. The Victorian era had a fascination with historical accuracy and this was adapted to the stage in order to appeal to the educated middle class. Charles Kean was particularly interested in historical context and spent many hours researching historical dress and setting for his productions. This faux-Shakespearean style was fixed until the 20th century. As of the twenty-first century, there are very few productions of Shakespeare, both on stage and on film, which are still performed in "authentic" period dress, while as late as 1990, virtually every true film version of a Shakespeare play was performed in correct period costume.

752: 630:) for over a century, arose from a profoundly different sense of morality in society and of the role that theatre and art should play within that society. Tate's versions of Shakespeare see the responsibility of theatre as a transformative agent for positive change by holding a moral mirror up to our baser instincts. Tate's versions of what we now consider some of the Bard's greatest works dominated the stage throughout the 18th century precisely because the Ages of Enlightenment and Reason found Shakespeare's "tragic vision" immoral, and his tragic works unstageable. Tate is seldom performed today, though in 1985, the 426: 827:: "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match." Apparently no incongruity was perceived in having Barry and Garrick, in their late thirties, play adolescent Romeo one season and geriatric King Lear the next. 18th century notions of verisimilitude did not usually require an actor to be physically appropriate for a role, a fact epitomized by a 1744 production of 663:. The result is a snapshot of Restoration comic tastes. Beatrice and Benedick are brought in to parallel Claudio and Hero; the emphasis throughout is on witty conversation, and Shakespeare's thematic focus on lust is steadily downplayed. The play ends with three marriages: Benedick's to Beatrice, Claudio's to Hero, and Isabella's to an Angelo whose attempt on Isabella's virtue was a ploy. Davenant wrote many of the bridging scenes and recast much of Shakespeare's verse as 1188: 961:(1847–1928). To be a star of the legitimate drama came to mean being first and foremost a "great Shakespeare actor", with a famous interpretation of, for men, Hamlet, and for women, Lady Macbeth, and especially with a striking delivery of the great soliloquies. The acme of spectacle, star, and soliloquy of Shakespeare performance came with the reign of actor-manager Henry Irving and his co-star Ellen Terry in their elaborately staged productions, often with orchestral 2983: 717:, but as theater professionals. Unlike Beaumont and Fletcher, whose "plays are now the most pleasant and frequent entertainments of the stage", according to Dryden in 1668, "two of theirs being acted through the year for one of Shakespeare's or Jonson's", Shakespeare appeared to them to have become dated. Yet almost universally, they saw him as worth updating. Though most of these revised pieces failed on stage, many remained current on stage for decades; 33: 568: 889: 3629: 218: 413:. Little is certainly known about acting styles. Critics praised the best actors for their naturalness. Scorn was heaped on ranters and on those who "tore a passion to tatters", as Hamlet has it. Also with Hamlet, playwrights complain of clowns who improvise on stage (modern critics often blame Kemp in particular in this regard). In the older tradition of comedy which reached its apex with 3639: 1215: 342:. A theatrical cannon, set off during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving documents of the event, no one was hurt except a man who put out his burning breeches with a bottle of ale. The event pinpoints the date of a Shakespeare play with rare precision. Sir 1221: 1220: 1217: 1216: 1222: 1223: 912:

and the stars, at the expense of pace and action. Performances were further slowed by the need for frequent pauses to change the scenery, creating a perceived need for even more cuts in order to keep performance length within tolerable limits; it became a generally accepted maxim that Shakespeare's

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played Lear from a shortened and rearranged version of Shakespeare's text. "Twas my good fortune", Tate said, "to light on one expedient to rectify what was wanting in the regularity and probability of the tale, which was to run through the whole a love betwixt Edgar and Cordelia that never changed

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was not fanciful; the city government's hostility meant that performances were officially limited to that length of time. Though it is not known how seriously companies took such injunctions, it seems likely either that plays were performed at near-breakneck speed or that the play-texts now extant

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from a period shortly after Shakespeare's death. Shakespeare's performances were originally performed in contemporary dress. Actors were costumed in clothes that they might wear off the stage. This continued into the 18th century, the Georgian period, where costumes were the current fashionable

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revolution touched acting as it touched all the arts. At the same time, actors and producers began to return to Shakespeare's texts, slowly weeding out the Restoration revisions. Finally, by the end of the century Shakespeare's plays had been established as part of the repertory outside of Great

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influence. Craig defined space with simple flats: monochrome canvases stretched on wooden frames, which were hinged together to be self-supporting. Though the construction of these flats was not original, its application to Shakespeare was completely new. The flats could be aligned in many

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remains famous as an example of an ill-conceived adaptation arising from insensitivity to Shakespeare's tragic vision. Tate's genius was not in language – many of his interpolated lines don't even scan – but in structure; his Lear begins brilliantly with the Edmund the Bastard's first

688:; their work featured a sister for Miranda, a man, Hippolito, who has never seen a woman, and another paired marriage at the end. It also featured many songs, a spectacular shipwreck scene, and a masque of flying cupids. Other of Shakespeare's works given operatic treatment included 622:

attention-grabbing speech, and ends with Lear's heroic saving of Cordelia in the prison and a restoration of justice to the throne. Tate's worldview, and that of the theatrical world that embraced (and demanded) his "happy ending" versions of the Bard's tragic works (such as

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the next year) and still commanded audiences. This occasion was a striking example of the growing prominence of Shakespeare stars in the theatrical culture, the big attraction being the competition and rivalry between the male leads at Covent Garden and Drury Lane,

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recalling, "Let but Falstaff come, Hal, Poins, the rest ... and you scarce shall have a room". When the landlord of the Theatre announced that he would not renew the company's lease, they pulled the playhouse down and used the timbers to construct the

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Cahiers Elisabéthains: A Biannual Journal of English Renaissance Studies, Special Issue 2007: The Royal Shakespeare Company Complete Works Festival, 2006–2007, Stratford-upon-Avon, Edited by Peter J. Smith and Janice Valls-Russell with Kath

308:, for example, Jupiter descends "in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees." Plays produced at the indoor theater presumably also made greater use of sound effects and music. 335:(Sierra Leone, 30 September 1607). For a time after its discovery, the fragment was suspected of being a forgery, but is now generally accepted as genuine. These are the first recorded amateur performances of any Shakespeare plays. 969:

from 1878 to 1902. At the same time, a revolutionary return to the roots of Shakespeare's original texts, and to the platform stage, absence of scenery, and fluid scene changes of the Elizabethan theatre, was being effected by

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plays were too long to be performed without substantial cuts. The platform, or apron, stage, on which actors of the 17th century would come forward for audience contact, was gone, and the actors stayed permanently behind the

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were replaced by actresses. The audiences of comparatively expensive indoor theaters were richer, better educated, and more homogeneous than the diverse, often unruly crowds at the Globe. Davenant's company began at the

725:, for example, seems to have driven Shakespeare's original from the stage between 1680 and 1744. It was in large part the revised Shakespeare that took the lead place in the repertory in the early 18th century, while 168:

reveals that it had been acted by three different companies. After the plagues of 1592–93, Shakespeare's plays were performed by the Lord Chamberlain's Men, a new company of which Shakespeare was a founding member, at

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of the Lord Chamberlain's Men. However, neighborhood protests kept Burbage from using the theater for the Lord Chamberlain's Men performances for a number of years. After the Lord Chamberlain's Men were renamed the

1218: 457:" or short pieces of larger plays that usually ended with some type of jig. Shakespeare was among the many playwrights whose works were plundered for these scenes. Among the drolls taken from Shakespeare were 250:

Less is known about other features of staging and production. Stage props seem to have been minimal, although costuming was as elaborate as was feasible. The "two hours' traffic" mentioned in the prologue to

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The 18th century witnessed three major changes in the production of Shakespeare's plays. In England, the development of the star system transformed both acting and production; at the end of the century, the

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More than 420 feature-length film versions of Shakespeare's plays have been produced since the early 20th century, making Shakespeare the most filmed author ever. Some of the film adaptations, especially

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organised a Shakespeare jubilee in Frankfurt in 1771, stating that the dramatist had shown that the Aristotelian unities were "as oppressive as a prison" and were "burdensome fetters on our imagination".

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comments before he proceeded to tear down (i.e., deconstruct) the scenery. Even after press coverage, some audience members still fled from the performance, thinking they were witnessing a real assault.

609:, a modified version of Shakespeare's original tragedy with a happy ending. According to Stanley Wells, Tate's version "supplanted Shakespeare's play in every performance given from 1681 to 1838," when 1264: 346:

recorded that the play "was set forth with many extraordinary circumstances of pomp and ceremony". The theatre was rebuilt but, like all the other theatres in London, the Globe was closed down by the

868:". This claim that Shakespeare's work breaks through all creative boundaries to reveal a chaotic, teeming, contradictory world became characteristic of Romantic criticism, later being expressed by 284:. Performance records are patchy, but it is known that the King's Men performed seven of Shakespeare's plays at court between 1 November 1604 and 31 October 1605, including two performances of 851:

and other plays, of uncertain provenance, but certainly quite old. But it was not until after the middle of the next century that Shakespeare appeared regularly on German stages. In Germany

504:. The licensing system prevailed for two centuries; from 1660 to 1843, only two main companies regularly presented Shakespeare in London. Davenant, who had known early-Stuart actors such as 519:

reports that the King's Men initially included some Caroline actors; however, the forced break of the Interregnum divided both companies from the past. Restoration actors performed on

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Theatres and theatrical scenery became ever more elaborate in the 19th century, and the acting editions used were progressively cut and restructured to emphasize more and more the

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was one spectacular example. Such elaborate scenery for the frequently changing locations in Shakespeare's plays often led to a loss of pace. Towards the end of the 19th century,

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run by an evil king thoroughly controlled by African magic. Initially hostile, the black community took to the production thoroughly, ensuring full houses for ten weeks at the

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configurations and provided a technique of simulating architectural or abstract lithic structures out of supplies and methods common to any theater in Europe or the Americas.

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of 1737, one fourth of the plays performed were by Shakespeare, and on at least two occasions rival London playhouses staged the very same Shakespeare play at the same time (

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Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in

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In the 18th century, Shakespeare dominated the London stage, while Shakespeare productions turned increasingly into the creation of star turns for star actors. After the

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in 2006–2007, which staged productions of all of Shakespeare's plays and poems. The second is the World Shakespeare Festival in 2012, which is part of the London 2012

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The Globe, like London's other open-roofed public theatres, employed a thrust-stage, covered by a cloth canopy. A two-storey facade at the rear of the stage hid the

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For centuries there had been an accepted style of how Shakespeare was to be performed which was erroneously labeled "Elizabethan" but actually reflected a trend of

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productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in

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However ill-guided such revisions may seem now, they made sense to the period's dramatists and audiences. The dramatists approached Shakespeare not as

3341: 751: 124:, Shakespeare's plays were performed in playhouses, with elaborate scenery, and staged with music, dancing, thunder, lightning, wave machines, and 1300:, and features nearly 70 productions involving thousands of performers from across the world. More than half of these productions are part of the 128:. During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity. 3617: 3295: 3457: 3356: 1304:. Each of the productions in this festival has been reviewed by Shakespeare academics, theatre practitioners, and bloggers in a project called 3663: 3452: 2884: 2348: 3642: 2953: 3530: 3033: 2892: 2113: 516: 864:

likewise proclaimed that reading Shakespeare's work opens "leaves from the book of events, of providence, of the world, blowing in the

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movies marketed to teenage audiences, use his plots rather than his dialogue, while others are simply filmed versions of his plays.

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and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today.

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and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today.

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in modern dress. These productions paved the way for the modern-dress Shakespearean productions that we are familiar with today.

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have been staged since the end of the 16th century. While Shakespeare was alive, many of his greatest plays were performed by the

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The troupe for which Shakespeare wrote his earliest plays is not known with certainty; the title page of the 1594 edition of

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during the winter and the Globe during the summer. The indoor setting, combined with the Jacobean vogue for lavishly staged

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rulers. While denied the use of the stage, costumes and scenery, actors still managed to ply their trade by performing "

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one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including

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Through the 19th century, a roll call of legendary actors' names all but drown out the plays in which they appear:

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back into Shakespeare. It was not the first modern-dress production since there were a few minor examples before

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Other notable productions of the 20th century that follow this trend of relocating Shakespeare's plays are

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rewrote some of Shakespeare's plays to suit the tastes of the day, which favoured the courtly comedy of

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was one spectacular example. Too often, the result was a loss of pace. Towards the end of the century,

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in the UK has produced two major Shakespeare festivals in the twenty-first century. The first was the

369:. Burbage played the leading role in the first performances of many of Shakespeare's plays, including 3419: 3206: 3184: 2764: 2715: 2694: 2674: 2574: 2551: 1326: 1132: 1052: 930: 564:. Though they liked Shakespeare, they seem to have wished his plays to conform to these preferences. 233:

and, through windows near the top of the facade, opportunities for balcony scenes such as the one in

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was costumed in evening dress for the wager, the court was in military uniforms, and the disguised

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edited by James Ogden and Arthur Hawley Scouten, Fairleigh Dickinson Univ Press, 1997, p. 127.

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A final feature of Restoration stagecraft impacted productions of Shakespeare. The taste for

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that the exiles had developed in France made its mark on Shakespeare as well. Davenant and

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Restoration writers obliged them by adapting Shakespeare's plays freely. Writers such as

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Some of Shakespeare's work was performed in continental Europe even during his lifetime;

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Ringler, William Jr. (1997)."Shakespeare and His Actors: Some Remarks on King Lear". In

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in 1660, Shakespeare's plays were divided between the two newly licensed companies: the

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The other main theatre where Shakespeare's original plays were performed was the second

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Renaissance Revivals: City Comedy and Revenge Tragedy in the London Theatre, 1576–1980.

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led a reaction against this heavy style. In a series of "Elizabethan" productions on a

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led a reaction against this heavy style. In a series of "Elizabethan" productions on a

102: 2467:. Balz Engler and Ledina Lambert, eds. Newark, DE: University of Delaware Press, 2004. 1565:. William Shakespeare. Cambridge: Cambridge University Press; Introduction, 2, 38–39. 3657: 3602: 3548: 3310: 2652: 2439: 2095: 1986: 1904: 1438: 1378: 1346: 946: 901: 812: 796: 647:

Perhaps a more typical example of the purpose of Restoration revisions is Davenant's

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On the whole, though, innovation was the order of the day for Restoration companies.

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Ringler, William jr. "Shakespeare and His Actors: Some Remarks on King Lear" from

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in knickerbockers and cap. It was for this production that critics invented the

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at Stratford in 1769. He freely adapted Shakespeare's work, however, saying of

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The Plays of William Shakespeare at 420 scenes and characters from several of

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On 29 June 1613, the Globe Theatre went up in flames during a performance of

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Janespotting and Beyond: British Heritage Retrovisions Since the Mid-1990s

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has continually staged all-female cast versions of Shakespeare in London.

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Looking at Shakespeare: A Visual History of Twentieth-Century Performance

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The second major shift of 20th-century scenography of Shakespeare was in

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Britain: not only in the United States but in many European countries.

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The 20th century also saw a multiplicity of visual interpretations of

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the King's Men (as the company was then known) took possession of the

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Shakespeare's plays continued to be staged after his death until the

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Shakespeare's plays continued to be staged after his death until the

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Casting Shakespeare's Plays; London actors and their roles 1590–1642

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English Drama of the Restoration and Eighteenth Century (1642–1780)

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Letter to Sir William Young, 10 January 1773. Quoted by Uglow, 473.

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stages, often in the evening, between six and nine. Set-design and

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in 1603, they entered a special relationship with the new court of

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was the first to call attention to the device in a blatant way.

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Jackson, Russell. "Shakespeare at Stratford-upon-Avon, 1994–5."

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broadwayworld.com. 4 February 2009. Retrieved 18 February 2009.

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company have taken all-male cast productions around the world.

2260:"Cook, Eyre, Lee And More Join Jude Law In Grandage's HAMLET." 2198:

by Dennis Kennedy, Cambridge University Press, 2001, pp. 1–3.

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Shakespeare and Modern Theatre: The Performance of Modernity.

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Evening of Poetry, Music, and the Spoken Word on 12 May 2009.

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became more elaborate and variable. Perhaps most noticeably,

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Passing Strange: Shakespeare, Race, and Contemporary America

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Glick, Claris. "William Poel: His Theories and Influence."

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Edmond Malone, Shakespearean Scholar: A Literary Biography

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The Critical and Miscellaneous Prose Works of John Dryden

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The Critical and Miscellaneous Prose Works of John Dryden

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Pfister, Manfred. "Shakespeare and the European Canon."

1869:. New Jersey: Fairleigh Dickinson University Press, 50. 77:(who played the title role in the first performances of 2418:. Thomas Lyster, translator. New York: Macmillan, 1884. 1461:

by William Shakespeare, Simon and Schuster, 2004, p. xl

73:. Among the actors of these original performances were 2482:

Alt-englisches Theater oder Supplemente zum Shakspear

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directed quarto and folio texts with few cuts, while

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directed quarto and folio texts with few cuts, while

2373:, Bantam Books, 358; Voigts-Virchow, Eckart (2004), 2272:"Jude Law to play Hamlet at 'home' Kronborg Castle." 1648:

The Cambridge Companion to English Renaissance Drama

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Shifting the Scene: Shakespeare in European Culture

1557: 1555: 2288:Theatre programme, Everyman Cheltenham, June 2009. 1943:Shakespeare Survey 55: King Lear and its Afterlife 1098:, as Welles changed the setting to a 19th-century 296:. After 1608, the troupe performed at the indoor 2250:. 10 September 2007. Retrieved 19 November 2007. 1591:London; New York: Routledge; Introduction, 5–6. 1587:Bristol, Michael, and Kathleen McLuskie (eds.). 855:compared Shakespeare to German folk literature. 2408:. Edmond Malone, editor. London: Baldwin, 1800. 1937:. Quoted by Peter Womack (2002). "Secularizing 2472:Beaumont and Fletcher on the Restoration Stage 2094:See, for example, the 19th century playwright 1533: 1531: 1402:List of William Shakespeare screen adaptations 2519: 2032:. Cambridge: Cambridge University Press, 27. 1817:Lear from Study to Stage: Essays in Criticism 1497:Lear from Study to Stage: Essays in Criticism 921:, further separated from the audience by the 353:The actors in Shakespeare's company included 8: 1675:. New Haven, CT: Yale University Press, 7. 1583: 1581: 1476:. New Haven, CT: Yale University Press, 7. 1887:Chicago: University of Chicago Press, 115. 1695:. Cambridge, MA: Harvard University Press. 819:between 1747 and 1776, and he held a great 651:, a 1662 comedy combining the main plot of 27:Performances of William Shakespeare's plays 3463: 3049: 2547: 2526: 2512: 2504: 1867:Restoration Shakespeare: Viewing the Voice 1781:Baltimore, Penguin, 1964; pp. 262, 426–27. 1541:. New York: Cornell University Press, 64. 160:Performances during Shakespeare's lifetime 1758: 1756: 1754: 1094:cast. The production became known as the 1080:to direct a groundbreaking production of 1941:: Shakespeare, Tate and the Sacred." In 750: 614:words with each other in the original". 421:Interregnum and Restoration performances 198:. The Globe opened in autumn 1599, with 2446:. New York: Simon & Schuster, 1972. 2279:. 10 July 2009. Retrieved 14 July 2009. 2154:. Oxford University Press. p. 79. 1450: 2392:Shakespeare's Editors and Commentators 2298:Michael Billington (10 January 2012). 2245:"Jude Law to Star in Donmar's Hamlet." 1740:. London: Penguin; Introduction, xli. 1646:(1990). "Playhouses and Players". In 1278: 1150:of 1994 costumed in the manner of the 3278:Complete Works of William Shakespeare 904:divides the actors from the audience. 7: 685:The Tempest, or The Enchanted Island 3638: 2496:Shakespeare at the National Theatre 1989:, ed. (London: Baldwin, 1800): 101. 1237:'s Act I, scene III monologue from 1123:of 1928 set on the battlefields of 634:mounted a successful production of 256:were cut for performance, or both. 3453:Shakespeare's influence on Tolkien 1779:A Shakespeare Companion 1564–1964. 1765:Who's Who in Shakespeare's England 1561:Griffiths, Trevor R (ed.) (1996). 1279:Problems playing these files? See 1013:in 1911 was groundbreaking in its 25: 2434:University of Massachusetts Press 2399:Victor Hugo: A Memoir and a Study 2394:. London: J. Russell Smith, 1865. 2371:The Guinness Book of Records 1999 1369:from 25 to 30 August 2009 and on 710:(by way of an elaborate masque.) 3637: 3628: 3627: 2981: 2474:. New York: Benjamin Blom, 1954. 2347:Katie Van-Syckle (24 May 2016). 2138:Shakespeare on the English Stage 2114:Foggerty's Fairy and Other Tales 2011:. London: Faber and Faber, 398. 1693:Shakespearean Staging, 1599–1642 1261: 1213: 311:A fragment of the naval captain 1736:• Holland, Peter (ed.) (2000). 847:pointed out German versions of 536:, then moved to the theater at 3458:Works titled after Shakespeare 1509:, Cambridge University Press. 475:(the gravedigger's scene from 1: 3618:Shakespeare and other authors 2401:. Edinburgh: Blackwood, 1885. 1964:Riverside Shakespeare Company 1539:Shakespeare Among the Moderns 1294:Complete Works (RSC festival) 1110:success and a national tour. 632:Riverside Shakespeare Company 540:, and finally settled in the 263:, an indoor theatre built by 50:Thousands of performances of 3664:Plays by William Shakespeare 3500:Shakespeare Birthplace Trust 2390:Arrowsmith, William Robson. 1763:Alan & Veronica Palmer, 756:David Garrick as Richard III 729:'s share steadily declined. 601:neo-classical rules of drama 3306:English Renaissance theatre 3149:The Second Maiden's Tragedy 3128:The Merry Devil of Edmonton 2660:The Two Gentlemen of Verona 986:In the early 20th century, 872:in the preface to his play 433:(1662), showing theatrical 401:, who played roles such as 325:, 5 September 1607, and at 3680: 3474:Folger Shakespeare Library 3020:The Phoenix and the Turtle 2610:The Merry Wives of Windsor 2460:. London: Macmillan, 1914. 2140:, 1900–1064. London, 1964. 1933:From Tate's dedication to 1865:Murray, Barbara A (2001). 1399: 3612: 3493:Royal Shakespeare Theatre 3488:Royal Shakespeare Company 2979: 2617:A Midsummer Night's Dream 2561:All's Well That Ends Well 2456:Nettleton, George Henry. 2377:, Gunter Narr Verlag, 92. 2101:Unappreciated Shakespeare 1978:Essay of Dramatick Poesie 1563:A Midsummer Night's Dream 1517:(Paperback edition 2009, 1459:A Midsummer Night's Dream 1321:in the title role at the 1290:Royal Shakespeare Company 1169:Royal Shakespeare Theatre 1063:, two years later staged 976:Elizabethan Stage Society 691:A Midsummer Night's Dream 603:. In 1681, Tate provided 468:A Midsummer Night's Dream 2631:Pericles, Prince of Tyre 2300:"Julius Caesar – review" 2150:Ayanna Thompson (2011). 2106:16 December 2008 at the 1935:The History of King Lear 1671:• Nagler, A.M. (1958). 766:. Tent scene before the 637:The History of King Lear 611:William Charles Macready 606:The History of King Lear 441:in the lower left corner 159: 65:acting companies at the 2639:The Taming of the Shrew 1913:Oxford University Press 1768:. Retrieved 29 May 2015 1472:• Nagler, A.M (1958). 1302:Globe to Globe Festival 1164:The Taming of the Shrew 1078:Federal Theatre Project 988:Harley Granville-Barker 721:'s Roman adaptation of 534:Salisbury Court Theatre 150:Harley Granville-Barker 3321:Lord Chamberlain's Men 3232:The Passionate Pilgrim 3005:comparison to Petrarch 2624:Much Ado About Nothing 2603:The Merchant of Venice 2028:Martin, Peter (1995). 1907:, "Introduction" from 1191: 1106:and prompting a small 1025:'s 1923 production of 967:Lyceum Theatre, London 925:(see image at right). 905: 771: 660:Much Ado About Nothing 649:The Law Against Lovers 642:The Shakespeare Center 580: 442: 395:Much Ado About Nothing 329:, 31 March 1608), and 286:The Merchant of Venice 226: 59:Lord Chamberlain's Men 47: 3511:Shakespeare Institute 3480:Shakespeare Quarterly 2999:Shakespeare's sonnets 2667:The Two Noble Kinsmen 2451:Shakespeare Quarterly 2444:Run-through: A Memoir 2423:Shakespeare Quarterly 2007:Uglow, Jenny (1997). 1836:Chambers, Vol 1: 341. 1396:Shakespeare on screen 1190: 1167:was performed at the 1136:of 1937 based on the 1023:Barry Vincent Jackson 892:The Theatre Royal at 891: 754: 727:Beaumont and Fletcher 570: 560:; for comedy, to the 548:before settling into 546:Gibbon's Tennis Court 544:. Killigrew began at 542:Dorset Garden Theatre 428: 220: 52:William Shakespeare's 35: 18:Shakespearean actress 3367:Spelling of his name 3207:Vortigern and Rowena 3185:Thomas Lord Cromwell 2765:Troilus and Cressida 2695:Antony and Cleopatra 2589:Love's Labour's Lost 2575:The Comedy of Errors 2430:Shakespeare in Sable 2328:. St Ann's Warehouse 1457:Editor's Preface to 1357:, Alex Waldmann and 931:Antony and Cleopatra 538:Lincoln's Inn Fields 137:Antony and Cleopatra 71:Blackfriars Theatres 3591:Richard Shakespeare 3573:Gilbert Shakespeare 3505:Shakespeare's Globe 3410:Authorship question 3405:Attribution studies 3372:Stratford-upon-Avon 3214:A Yorkshire Tragedy 3192:Thomas of Woodstock 3178:The Spanish Tragedy 3119:Love's Labour's Won 3111:The London Prodigal 3068:The Birth of Merlin 3027:The Rape of Lucrece 3013:A Lover's Complaint 2893:Quarto publications 2596:Measure for Measure 2535:William Shakespeare 2369:Young, Mark (ed.). 2225:on 28 November 2011 1673:Shakespeare's Stage 1474:Shakespeare's Stage 1329:. He was joined by 1325:West End season at 1306:Year of Shakespeare 1229:The American actor 992:Edward Gordon Craig 839:Elsewhere in Europe 821:Shakespeare Jubilee 803:, in roles such as 707:Measure for Measure 654:Measure for Measure 298:Blackfriars Theatre 294:Blackfriars Theatre 261:Blackfriars Theatre 154:Edward Gordon Craig 122:English Restoration 43:William Shakespeare 3585:Edmund Shakespeare 3543:Hamnet Shakespeare 3440:Screen adaptations 3163:Sir John Oldcastle 3061:Arden of Faversham 1838:• Shapiro, 247–49. 1804:Oxford Shakespeare 1791:Globe Theatre Fire 1714:Oxford Shakespeare 1689:Thomas J. King Jr. 1685:• Shapiro, 131–32. 1660:• Shapiro, 125–31. 1623:Oxford Shakespeare 1610:Oxford Shakespeare 1503:Thomas J. King Jr. 1486:• Shapiro, 131–32. 1375:Broadhurst Theatre 1271:Audio only version 1192: 951:John Philip Kemble 906: 817:Drury Lane Theatre 772: 768:Battle of Bosworth 764:Walker Art Gallery 581: 571:Restoration actor 552:'s new theatre in 443: 321:(off the coast of 227: 120:rulers. After the 48: 37:Sir John Gilbert's 3651: 3650: 3555:Elizabeth Barnard 3519: 3518: 3248: 3247: 2977: 2976: 2675:The Winter's Tale 1298:Cultural Olympiad 1266: 1224: 1152:French Revolution 1104:Lafayette Theatre 1076:was hired by the 957:(1838–1905), and 833:Theophilus Cibber 562:comedy of manners 459:Bottom the Weaver 16:(Redirected from 3671: 3641: 3640: 3631: 3630: 3579:Joan Shakespeare 3561:John Shakespeare 3464: 3445:Shakespeare and 3156:Sejanus His Fall 3123: 3083:Double Falsehood 3050: 3034:Venus and Adonis 2985: 2758:Titus Andronicus 2744:Romeo and Juliet 2548: 2528: 2521: 2514: 2505: 2397:Cappon, Edward. 2378: 2367: 2361: 2360: 2358: 2356: 2344: 2338: 2337: 2335: 2333: 2322: 2316: 2315: 2313: 2311: 2295: 2289: 2286: 2280: 2276:The Daily Mirror 2269: 2263: 2257: 2251: 2241: 2235: 2234: 2232: 2230: 2221:. 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In the 1740s, 781:Romeo and Juliet 723:Romeo and Juliet 657:with subplot of 628:Romeo and Juliet 585:William Davenant 573:Thomas Betterton 550:Christopher Wren 502:William Davenant 494:Thomas Killigrew 473:The Grave-makers 429:Frontispiece to 409:and the fool in 387:Romeo and Juliet 253:Romeo and Juliet 235:Romeo and Juliet 166:Titus Andronicus 21: 3679: 3678: 3674: 3673: 3672: 3670: 3669: 3668: 3654: 3653: 3652: 3647: 3608: 3557:(granddaughter) 3515: 3462: 3391: 3357:Religious views 3335:Curtain Theatre 3256: 3244: 3219: 3170:Sir Thomas More 3116: 3090:Edmund Ironside 3039: 2986: 2973: 2947:Ghost character 2907: 2879: 2770: 2751:Timon of Athens 2680: 2537: 2532: 2491: 2484:. 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( 1662: 1636: 1627: 1614: 1601: 1577: 1551: 1527: 1488: 1463: 1449: 1448: 1446: 1443: 1442: 1441: 1436: 1429: 1426: 1416: 1413: 1400:Main article: 1397: 1394: 1390:Phyllida Lloyd 1343:John MacMillan 1276: 1270: 1260: 1255: 1254: 1228: 1212: 1196: 1195: 1194: 1185: 1184: 1183: 1181: 1178: 1159:deconstructive 1096:Voodoo Macbeth 1033:Birmingham Rep 1007:'s design for 983: 980: 898:platform stage 885: 882: 840: 837: 793:Spranger Barry 748: 745: 734: 731: 702:Charles Gildon 490:King's Company 422: 419: 407:As You Like It 221:Reconstructed 187:Leonard Digges 161: 158: 103:Richard Cowley 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 3676: 3665: 3662: 3661: 3659: 3644: 3636: 3634: 3626: 3625: 3621: 3619: 3615: 3614: 3611: 3604: 3603:Thomas Quiney 3601: 3598: 3595: 3593:(grandfather) 3592: 3589: 3586: 3583: 3580: 3577: 3574: 3571: 3568: 3565: 3562: 3559: 3556: 3553: 3550: 3549:Judith Quiney 3547: 3544: 3541: 3538: 3535: 3532: 3531:Anne Hathaway 3529: 3528: 3526: 3522: 3512: 3509: 3506: 3503: 3501: 3498: 3494: 3491: 3490: 3489: 3486: 3482: 3481: 3477: 3476: 3475: 3472: 3471: 3469: 3465: 3459: 3456: 3454: 3451: 3449: 3448: 3443: 3441: 3438: 3436: 3433: 3431: 3428: 3426: 3423: 3421: 3418: 3416: 3413: 3411: 3408: 3406: 3403: 3402: 3400: 3398: 3394: 3388: 3385: 3383: 3380: 3378: 3375: 3373: 3370: 3368: 3365: 3363: 3360: 3358: 3355: 3353: 3350: 3348: 3345: 3343: 3340: 3336: 3333: 3331: 3328: 3327: 3326: 3322: 3319: 3317: 3314: 3312: 3311:Globe Theatre 3309: 3307: 3304: 3302: 3299: 3297: 3294: 3292: 3289: 3285: 3282: 3280: 3279: 3275: 3274: 3273: 3270: 3268: 3265: 3264: 3262: 3260: 3255: 3251: 3241: 3240: 3236: 3234: 3233: 3229: 3228: 3226: 3222: 3216: 3215: 3211: 3209: 3208: 3204: 3201: 3200: 3196: 3194: 3193: 3189: 3187: 3186: 3182: 3180: 3179: 3175: 3172: 3171: 3167: 3165: 3164: 3160: 3158: 3157: 3153: 3151: 3150: 3146: 3144: 3143: 3139: 3137: 3136: 3132: 3130: 3129: 3125: 3121: 3120: 3115: 3113: 3112: 3108: 3106: 3105: 3101: 3099: 3098: 3094: 3092: 3091: 3087: 3085: 3084: 3080: 3077: 3076: 3072: 3070: 3069: 3065: 3063: 3062: 3058: 3057: 3055: 3051: 3048: 3046: 3042: 3036: 3035: 3031: 3029: 3028: 3024: 3022: 3021: 3017: 3015: 3014: 3010: 3006: 3003: 3002: 3001: 3000: 2996: 2995: 2993: 2989: 2984: 2970: 2967: 2965: 2962: 2960: 2957: 2955: 2952: 2948: 2945: 2943: 2940: 2938: 2935: 2934: 2932: 2930: 2927: 2925: 2924:Late romances 2922: 2920: 2919:Problem plays 2917: 2916: 2914: 2910: 2904: 2901: 2899: 2896: 2894: 2891: 2890: 2888: 2886: 2882: 2875: 2874: 2870: 2868: 2867: 2863: 2859: 2858: 2854: 2852: 2851: 2847: 2844: 2843: 2839: 2838: 2837: 2836: 2832: 2830: 2829: 2825: 2821: 2820: 2816: 2814: 2813: 2809: 2808: 2807: 2804: 2802: 2801: 2797: 2794: 2793: 2789: 2787: 2786: 2782: 2781: 2779: 2777: 2773: 2767: 2766: 2762: 2760: 2759: 2755: 2753: 2752: 2748: 2746: 2745: 2741: 2739: 2738: 2734: 2732: 2731: 2727: 2725: 2724: 2720: 2718: 2717: 2716:Julius Caesar 2713: 2711: 2710: 2706: 2704: 2703: 2699: 2697: 2696: 2692: 2691: 2689: 2687: 2683: 2677: 2676: 2672: 2669: 2668: 2664: 2662: 2661: 2657: 2655: 2654: 2653:Twelfth Night 2650: 2648: 2647: 2643: 2641: 2640: 2636: 2633: 2632: 2628: 2626: 2625: 2621: 2619: 2618: 2614: 2612: 2611: 2607: 2605: 2604: 2600: 2598: 2597: 2593: 2591: 2590: 2586: 2584: 2583: 2579: 2577: 2576: 2572: 2570: 2569: 2565: 2563: 2562: 2558: 2557: 2555: 2553: 2549: 2546: 2544: 2540: 2536: 2529: 2524: 2522: 2517: 2515: 2510: 2509: 2506: 2499: 2497: 2493: 2492: 2488: 2483: 2479: 2478:Tieck, Ludwig 2476: 2473: 2469: 2466: 2462: 2459: 2455: 2452: 2448: 2445: 2441: 2438: 2435: 2431: 2427: 2424: 2420: 2417: 2413: 2410: 2407: 2403: 2400: 2396: 2393: 2389: 2388: 2384: 2376: 2372: 2366: 2363: 2350: 2343: 2340: 2327: 2321: 2318: 2305: 2301: 2294: 2291: 2285: 2282: 2278: 2277: 2273: 2268: 2265: 2261: 2256: 2253: 2249: 2246: 2240: 2237: 2224: 2220: 2214: 2211: 2204: 2201: 2197: 2192: 2190: 2186: 2180: 2177: 2171: 2168: 2163: 2161:9780195385854 2157: 2153: 2146: 2143: 2139: 2136: 2131: 2128: 2122: 2119: 2116: 2115: 2110: 2109: 2105: 2102: 2097: 2096:W. 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Gilbert 2091: 2088: 2082: 2079: 2076:Düntzer, 111. 2073: 2070: 2064: 2061: 2055: 2052: 2046: 2043: 2039: 2038:0-521-46030-1 2035: 2031: 2025: 2022: 2018: 2017:0-571-19376-5 2014: 2010: 2004: 2001: 1998:Sprague, 121. 1995: 1992: 1988: 1987:Edmond Malone 1984: 1980: 1979: 1972: 1969: 1965: 1959: 1956: 1952: 1951:0-521-81587-8 1948: 1944: 1940: 1936: 1930: 1927: 1924:Wells, p. 69. 1921: 1918: 1914: 1910: 1906: 1905:Stanley Wells 1901: 1898: 1894: 1893:0-226-30923-1 1890: 1886: 1882: 1876: 1875:0-8386-3918-6 1872: 1868: 1862: 1859: 1853: 1850: 1844: 1841: 1833: 1830: 1826: 1825:0-8386-3690-X 1822: 1818: 1812: 1809: 1805: 1799: 1796: 1792: 1787: 1784: 1780: 1774: 1771: 1767: 1766: 1759: 1757: 1755: 1751: 1747: 1746:0-14-071472-3 1743: 1739: 1734:Ackroyd, 454. 1731: 1728: 1722: 1719: 1715: 1709: 1706: 1702: 1701:0-674-80490-2 1698: 1694: 1690: 1682: 1681:0-300-02689-7 1678: 1674: 1666: 1663: 1657: 1656:0-521-38662-4 1653: 1649: 1645: 1640: 1637: 1631: 1628: 1624: 1618: 1615: 1611: 1605: 1602: 1598: 1597:0-415-21984-1 1594: 1590: 1584: 1582: 1578: 1572: 1571:0-521-57565-6 1568: 1564: 1558: 1556: 1552: 1548: 1547:0-8014-8418-9 1544: 1540: 1534: 1532: 1528: 1524: 1523:0-521-10721-0 1520: 1516: 1515:0-521-32785-7 1512: 1508: 1504: 1498: 1492: 1489: 1483: 1482:0-300-02689-7 1479: 1475: 1467: 1464: 1460: 1454: 1451: 1444: 1440: 1439:Globe Theatre 1437: 1435: 1432: 1431: 1427: 1425: 1422: 1414: 1412: 1410: 1403: 1395: 1393: 1391: 1387: 1382: 1380: 1376: 1372: 1368: 1364: 1360: 1356: 1352: 1348: 1344: 1340: 1336: 1332: 1328: 1324: 1320: 1316: 1315: 1311:In May 2009, 1309: 1307: 1303: 1299: 1295: 1291: 1284: 1282: 1258: 1249: 1245: 1244: 1240: 1239:Shakespeare's 1236: 1232: 1199: 1179: 1177: 1174: 1170: 1166: 1165: 1160: 1155: 1153: 1149: 1148: 1143: 1139: 1135: 1134: 1133:Julius Caesar 1130: 1126: 1122: 1121: 1116: 1111: 1109: 1105: 1101: 1097: 1093: 1089: 1085: 1084: 1079: 1075: 1070: 1068: 1067: 1062: 1058: 1054: 1050: 1046: 1042: 1038: 1034: 1030: 1029: 1024: 1019: 1016: 1012: 1011: 1006: 1002: 1000: 995: 993: 989: 981: 979: 977: 973: 968: 964: 960: 956: 953:(1757–1823), 952: 949:(1755–1831), 948: 947:Sarah Siddons 943: 941: 937: 933: 932: 926: 924: 920: 916: 911: 903: 902:orchestra pit 899: 896:in 1813. The 895: 890: 883: 881: 879: 875: 871: 867: 866:sands of time 863: 858: 854: 850: 846: 838: 836: 834: 830: 826: 822: 818: 814: 813:David Garrick 810: 806: 802: 798: 797:David Garrick 794: 789: 788: 783: 782: 777: 776:Licensing Act 769: 765: 761: 757: 753: 746: 744: 741: 732: 730: 728: 724: 720: 716: 711: 709: 708: 703: 700:in 1692) and 699: 698: 693: 692: 687: 686: 681: 677: 673: 668: 666: 662: 661: 656: 655: 650: 645: 643: 639: 638: 633: 629: 625: 620: 615: 612: 608: 607: 602: 598: 594: 590: 586: 578: 574: 569: 565: 563: 559: 555: 551: 547: 543: 539: 535: 530: 526: 522: 518: 513: 511: 510:Joseph Taylor 507: 503: 499: 495: 491: 487: 482: 480: 479: 474: 470: 469: 464: 460: 456: 452: 448: 440: 436: 432: 427: 420: 418: 416: 412: 408: 404: 400: 396: 392: 388: 384: 380: 376: 372: 368: 367:John Heminges 364: 363:Henry Condell 360: 356: 351: 349: 345: 341: 336: 334: 333: 328: 324: 320: 319: 314: 309: 307: 303: 299: 295: 291: 287: 283: 279: 274: 270: 266: 265:James Burbage 262: 257: 254: 248: 246: 242: 241: 236: 232: 224: 223:Globe theatre 219: 215: 213: 209: 205: 201: 200:Julius Caesar 197: 193: 192:Globe Theatre 188: 184: 180: 176: 172: 167: 157: 155: 151: 147: 143: 139: 138: 133: 129: 127: 123: 119: 115: 110: 108: 107:William Kempe 104: 100: 99: 94: 93: 88: 87: 82: 81: 76: 72: 68: 64: 60: 56: 53: 46: 44: 38: 34: 30: 19: 3605:(son-in-law) 3599:(son-in-law) 3537:Susanna Hall 3478: 3467:Institutions 3446: 3291:Coat of arms 3284:Translations 3276: 3272:Bibliography 3239:To the Queen 3237: 3230: 3212: 3205: 3197: 3190: 3183: 3176: 3168: 3161: 3154: 3147: 3140: 3133: 3126: 3117: 3109: 3102: 3095: 3088: 3081: 3073: 3066: 3059: 3032: 3025: 3018: 3011: 2997: 2959:Performances 2958: 2903:Second Folio 2871: 2864: 2855: 2848: 2840: 2833: 2826: 2817: 2810: 2805: 2798: 2790: 2783: 2763: 2756: 2749: 2742: 2735: 2728: 2721: 2714: 2707: 2700: 2693: 2673: 2665: 2658: 2651: 2644: 2637: 2629: 2622: 2615: 2608: 2601: 2594: 2587: 2580: 2573: 2566: 2559: 2495: 2481: 2471: 2464: 2457: 2450: 2443: 2429: 2422: 2415: 2405: 2398: 2391: 2385:Bibliography 2374: 2370: 2365: 2353:. 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Retrieved 2223:the original 2213: 2203: 2195: 2183:Jackson 345. 2179: 2170: 2151: 2145: 2137: 2135:Trewin, J.C. 2130: 2121: 2112: 2099: 2090: 2081: 2072: 2063: 2058:Tieck, xiii. 2054: 2045: 2029: 2024: 2008: 2003: 1994: 1982: 1976: 1971: 1958: 1942: 1938: 1934: 1929: 1920: 1908: 1900: 1884: 1866: 1861: 1852: 1843: 1832: 1816: 1811: 1803: 1798: 1786: 1778: 1773: 1764: 1737: 1730: 1721: 1713: 1708: 1692: 1672: 1665: 1647: 1644:Foakes, R.A. 1639: 1634:Shapiro, 16. 1630: 1622: 1617: 1609: 1604: 1588: 1562: 1538: 1506: 1496: 1491: 1473: 1466: 1458: 1453: 1418: 1405: 1383: 1317:opened with 1312: 1310: 1287: 1241: 1180:21st century 1162: 1156: 1145: 1131: 1118: 1112: 1090:with an all 1081: 1074:Orson Welles 1071: 1064: 1057:catch phrase 1044: 1037:modern dress 1026: 1020: 1008: 1005:Gordon Craig 1003: 996: 985: 982:20th century 972:William Poel 955:Henry Irving 944: 940:thrust stage 936:William Poel 929: 927: 907: 884:19th century 873: 848: 845:Ludwig Tieck 842: 828: 824: 785: 784:in 1755 and 779: 773: 755: 736: 733:18th century 722: 719:Thomas Otway 712: 705: 695: 689: 683: 679: 669: 658: 652: 648: 646: 635: 627: 623: 618: 616: 604: 582: 558:heroic drama 514: 483: 476: 472: 466: 458: 444: 430: 410: 406: 399:Robert Armin 394: 386: 382: 378: 374: 370: 352: 344:Henry Wotton 339: 337: 330: 323:Sierra Leone 316: 310: 305: 285: 267:, father of 258: 252: 249: 244: 238: 234: 231:tiring house 228: 211: 207: 203: 199: 182: 165: 163: 146:thrust stage 142:William Poel 135: 130: 111: 96: 90: 84: 78: 49: 40: 29: 3643:WikiProject 3330:The Theatre 3316:Handwriting 3142:The Puritan 2933:Characters 2898:First Folio 2866:Richard III 2646:The Tempest 2498:, 1967–2012 2432:. Amherst: 2085:Cappon, 65. 2067:Pfister 49. 1725:Foakes, 33. 1501:King,T.J. ( 1248:White House 1161:version of 1157:In 1978, a 1140:rallies at 1125:World War I 1115:H.K. Ayliff 1061:H.K. Ayliff 1041:World War I 999:Shakespeare 959:Ellen Terry 915:fourth wall 910:soliloquies 870:Victor Hugo 715:bardolators 680:The Tempest 676:John Dryden 529:boy players 517:John Downes 486:Restoration 447:Interregnum 371:Richard III 240:The Tempest 171:The Theatre 114:Interregnum 92:Richard III 3567:Mary Arden 3551:(daughter) 3539:(daughter) 3415:Bardolatry 3325:King's Men 3267:Birthplace 2954:Chronology 2873:Henry VIII 2800:Richard II 2792:Edward III 2702:Coriolanus 2453:46 (1995). 2425:15 (1964). 2326:"Henry IV" 2229:14 October 2174:Hill, 106. 2125:Glick, 15. 2098:'s essay, 1691:) (1971). 1669:Foakes, 6. 1505:) (1992). 1470:Foakes, 6. 1339:Gwilym Lee 1335:Peter Eyre 1281:media help 1147:Coriolanus 1001:'s plays. 894:Drury Lane 589:Nahum Tate 554:Drury Lane 521:proscenium 506:John Lowin 500:'s Men of 403:Touchstone 359:Will Kempe 340:Henry VIII 332:Richard II 282:King James 278:King's Men 273:impresario 179:Shoreditch 63:King's Men 3597:John Hall 3587:(brother) 3575:(brother) 3507:(replica) 3447:Star Trek 3435:Memorials 3430:Influence 3420:Festivals 3362:Sexuality 3352:Portraits 3347:New Place 3199:Ur-Hamlet 3135:Mucedorus 3045:Apocrypha 2785:King John 2776:Histories 2723:King Lear 2686:Tragedies 2582:Cymbeline 2351:. Variety 2248:The Stage 1939:King Lear 1909:King Lear 1738:Cymbeline 1409:Hollywood 1386:Propeller 1355:Matt Ryan 1327:Wyndham's 1257:"Othello" 1233:performs 1198:"Othello" 1142:Nuremberg 1072:In 1936, 1045:Cymbeline 1028:Cymbeline 965:, at the 923:orchestra 878:grotesque 831:in which 787:King Lear 624:King Lear 411:King Lear 383:King Lear 350:in 1642. 306:Cymbeline 212:King Lear 196:Southwark 132:Victorian 126:fireworks 98:King Lear 45:'s plays. 3658:Category 3633:Category 3581:(sister) 3569:(mother) 3563:(father) 3075:Cardenio 2964:Settings 2912:See also 2835:Henry VI 2806:Henry IV 2552:Comedies 2306:. London 2104:Archived 1975:Dryden, 1883:(1986). 1428:See also 1379:New York 1371:Broadway 1331:Ron Cook 1319:Jude Law 1108:Broadway 874:Cromwell 805:Malvolio 762:, 1745. 740:Romantic 599:and the 597:Fletcher 593:Beaumont 496:and the 439:Falstaff 431:The Wits 391:Dogberry 348:Puritans 183:Henry IV 173:and the 3425:Gardens 3301:Editors 3104:Locrine 3097:Fair Em 2929:Henriad 2828:Henry V 2737:Othello 2730:Macbeth 2436:, 1984. 2208:Bradley 2111:, from 2009:Hogarth 1806:, 1247. 1802:Wells, 1716:, xxii. 1712:Wells, 1621:Wells, 1608:Wells, 1373:at the 1367:Denmark 1246:at the 1243:Othello 1235:Othello 1129:Welles' 1120:Macbeth 1083:Macbeth 1049:Iachimo 1031:at the 853:Lessing 809:Shylock 747:Britain 678:worked 617:Tate's 484:At the 451:Puritan 437:, with 379:Othello 327:Socotra 302:masques 208:Othello 175:Curtain 118:Puritan 86:Othello 3622:† Lost 3533:(wife) 3524:Family 3397:Legacy 2969:Scenes 2709:Hamlet 2355:5 July 2332:5 July 2310:5 July 2158: 2036: 2015: 1949: 1891: 1873: 1823: 1744: 1699: 1679: 1654: 1625:, xxi. 1595: 1569: 1545: 1521: 1513: 1480: 1421:design 1314:Hamlet 1173:sexist 1088:Harlem 1066:Hamlet 1053:Imogen 1043:, but 1015:Cubist 1010:Hamlet 862:Herder 857:Goethe 849:Hamlet 825:Hamlet 811:, and 577:Hamlet 478:Hamlet 471:) and 463:Bottom 455:drolls 435:drolls 381:, and 375:Hamlet 318:Hamlet 271:, and 245:Hamlet 225:London 204:Hamlet 105:, and 80:Hamlet 3545:(son) 3387:Grave 3377:Style 3342:Music 3259:works 3224:Poems 3053:Plays 2991:Poems 2543:Plays 1612:, xx. 1445:Notes 1100:Haiti 758:. 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