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7 | (2) |
Preface and Acknowledgments |
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9 | (8) |
Part One: Texts |
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17 | (92) |
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The First Folio: Where Should We Be Without It? |
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17 | (16) |
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33 | (12) |
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Still Babbling of Green Fields: Mr. Greenfields and the Twenty-third Psalm |
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45 | (17) |
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"So quick bright things come to confusion": or, What Else Was A Midsummer Night's Dream About? |
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62 | (1) |
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"The gift is small, / The will is all": Musings for Jay Halio |
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62 | (47) |
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Part Two: Performances |
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109 | (120) |
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A Polish Gentleman's Visit to London Theaters in 1820-1821 |
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109 | (11) |
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How Revolutionary is Cross-cast Shakespeare? A Look at Five Contemporary Productions |
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120 | (16) |
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Strands Too Far Remote: A Note on Translating the Political and the Politics of Translation |
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136 | (10) |
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Beginning with Branagh: Romeo and Juliet, Hammersmith, 1986 |
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146 | (17) |
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To Know a Shakespeare Character |
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163 | (7) |
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The Readiness Was All: Ian Charleson and Richard Eyre's Hamlet |
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170 | (13) |
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Stoppard's Rosencrantz and Guildenstern Are Dead: The Film |
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183 | (12) |
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Cori-Ollie-anus: Shakespeare's Last Tragedy and American Politics in 1988 |
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195 | (14) |
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Staging The Tempest as an Alchemical Experiment in the Theater |
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209 | (20) |
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Part Three: Text and Performance |
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229 | (103) |
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Stage Directions as Evidence: The Question of Provenance |
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229 | (19) |
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Show Business: The Editor in the Theater |
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248 | (18) |
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"Oh be some other name": Translating Romeo and Juliet |
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266 | (19) |
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Humor Out of Breath: Francis Gentleman and the Henry IV Plays |
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285 | (13) |
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Editing Informed by Performance History: The Double Ending of Troilus and Cressida |
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298 | (12) |
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Two Lears: Notes for an Actor |
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310 | (10) |
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Staging The Comedy of Errors |
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320 | (12) |
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A Checklist: Jay L. Halio |
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332 | (2) |
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Contributors |
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334 | (4) |
Index to Works by, or Attributed to William Shakespeare |
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338 | (2) |
General Index |
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340 | |