Skip to main content Accessibility help
×
Hostname: page-component-7bb8b95d7b-lvwk9 Total loading time: 0 Render date: 2024-10-06T04:15:13.139Z Has data issue: false hasContentIssue false

Part XXVI - Shakespeare and the Performing Arts

Published online by Cambridge University Press:  17 August 2019

Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
Get access

Keywords

Bardolatryintercultural approachperformance criticismperformances serving as historical referencespostcolonial Shakespearereception theory, postmodernity and rereadings of ShakespeareShakespeare adaptations and appropriationsShakespeare and dance: ballet and musicalsShakespeare and operaShakespeare and songShakespeare and symphonic musicShakespeare and theatrical performanceShakespeare and the music in film scoresShakespeare on filmShakespeare on radioShakespeare on TVadaptationBritten, BenjaminlibrettomusicoperatranslationVerdi, GiuseppeballetBianca (Othello)courtly dancingCranko, JohnDesdemonaFeijoo, Lorenafemale identityfemale sexualitygender identityHamletHamlet (the character)homosexualityJulietKate (Taming of the Shrew)Labovitch, LarsLavrovsky, LeonidMalakhov, Vladimirmale identitymale sexualitymulticulturalismOthelloOthello (the character)politicsProkofiev, SergeiRichardson, DesmondRomeoRomeo and Julietsexual identitystage conventionsTaming of the ShrewTan, Yuan YuanTwelfth NightVoskresenskaja, SvetlanaAstaire, FredThe Band WagonBerkeley, BusbyBerlin, IrvingBolt, RanjitBranagh, KennethDoran, GregoryEnglishby, PaulGershwin, GeorgeGershwin, IraHart, LorenzJonson, BenKern, JeromeLove’s Labour’s LostThe Merry Wives of WindsorMerry Wives – The MusicalOedipus RexPorter, ColeRobinson, BillRodgers, RichardRogers, GingerRoyal Shakespeare CompanyThacker, DavidThe Two Gentlemen of VeronaWoolfenden, Guymusical narrativesonata formsymphonic musicsymphonic poemtonalitytone poemcommedia dell’arteentertainentHarlequinpantomimepopular performanceRich, JohnRichardson, SamuelRoman pantomimi dancersScala, FlamenioWeaver, JohnauthorshipChessé, BruceDerrida, JacquesGreene, RobertHamletJonson, BenmarionettesMarston, JohnMiddleton, Thomas“motions”puppetsShakes versus ShavShaw, George Bernard“theological theater”The TempestThe Two Gentlemen of Veronaambiguityambivalenceconcorddiscordduetemotionhighbrowimprovisationjazzjouissancepopularragtimerhythmscatsettingssonnetswingsyncopationvocal
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Bulman, James C. Introduction. Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 111.Google Scholar
Kidnie, Margaret Jane. Shakespeare and the Problem of Adaptation. London: Routledge, 2009.Google Scholar
Lanier, Douglas. “Drowning the Book: Prospero’s Books and the Textual Shakespeare.” Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 187209.Google Scholar
Massai, Sonia. “Defining Local Shakespeares.” World-Wide Shakespeares: Local Appropriations in Film and Performances. Ed. Massai, Sonia. London: Routledge, 2005. 311.Google Scholar
Sanders, Julie. Adaptation and Appropriation. London: Routledge, 2006. Rpt. 2008.Google Scholar
Smith, Jeff. “Movie Music as Moving Music: Emotion, Cognition, and the Film Score.” Passionate Views: Film, Cognition, and Emotion. Ed. Plantinga, Carl and Smith, Greg. Baltimore: Johns Hopkins UP, 1999. 146–67.Google Scholar
Styan, J. L. The Shakespeare Revolution: Criticism and Performance in the Twentieth Century. Cambridge: Cambridge University Press, 1977.Google Scholar
Willems, Michèle. “Verbal-Visual, Verbal-Pictorial or Textual- Televisual? Reflections on the BBC Series.” Shakespeare and the Moving Image: The Plays on Film and Television. Ed. Davies, Antony and Wells, Stanley. Cambridge: Cambridge University Press, 1995. 6985.Google Scholar
Worthen, W. B. Shakespeare and the Force of Modern Performance. Cambridge: Cambridge University Press, 2003.Google Scholar

Further reading

Dionne, Craig. “The Shatnerification of Shakespeare. Star Trek and the Commonplace Tradition.” Shakespeare after Mass Media. Ed. Burt, Richard. New York: Palgrave, 2002. 173–91.Google Scholar
Donaldson, Peter S.‘In Fair Verona’: Media, Spectacle, and Performance in William Shakespeare’s Romeo + Juliet.” Shakespeare after Mass Media. Ed. Burt, Richard. New York: Palgrave, 2002. 5982.CrossRefGoogle Scholar
Hatchuel, Sarah. Shakespeare, from Stage to Screen. Cambridge: Cambridge University Press, 2004. Rpt. 2005.CrossRefGoogle Scholar
Hogdon, Barbara. “Looking for Mr. Shakespeare after ‘The Revolution.’” Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 6891.Google Scholar
Houlahan, Mark. “Hekepia? The Mana of the Maori Merchant.” World Wide Shakespeares: Local Appropriations in Film and Performance. Ed. Massai, Sonia. London: Routledge, 2005. 140–44.Google Scholar
Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006.CrossRefGoogle Scholar
Kliman, Bernice W., and Santos, Rick J., eds. Latin American Shakespeares. Madison: Fairleigh Dickinson UP, 2005.Google Scholar
Lanier, Douglas. “WSHX: Shakespeare and American Radio.” Shakespeare after Mass Media. Ed. Burt, Richard. New York: Palgrave, 2002. 195219.Google Scholar
Modenessi, Alfredo Michel. “Meaning by ‘Shakespeare’ South of the Border.” Ed. Massai, Sonia. World Wide Shakespeares: Local Appropriations in Film and Performance. London: Routledge, 2005. 104–11.Google Scholar
Resende, Aimara da Cunha. “Text, Context and Audience: Two Versions of Romeo and Juliet in Brazilian Popular Culture.” Latin American Shakespeares. Ed. Kliman, Bernice W. and Santos, Rick J.. Teaneck: Fairleigh Dickinson UP, 2005. 270–89.Google Scholar
Wayne, Valerie. “Shakespeare: Wallah and Colonial Specularity.” Shakespeare the Movie I: Popularizing the Plays on Film, TV, and Video. Ed. Boose, Lynda E. and Burt, Richard. London: Routledge, 1997. 95102.Google Scholar

Sources cited

Albright, Daniel. Shakespeare and Opera: A Conflict of Theatres. Rochester: U of Rochester P, 2007.CrossRefGoogle Scholar
Clements, Andrew. Review of Thomas Adès’s “The Tempest.” The Guardian [London] 11 February 2004.Google Scholar
Hepokoski, James. Otello. Cambridge: Cambridge UP, 1987.Google Scholar
Knight, G. Wilson. The Wheel of Fire: Interpretations of Shakespearian Tragedy. London: Routledge, 2001.Google Scholar
Robinson, Paul. Opera and Ideas: From Mozart to Strauss. Ithaca: Cornell UP, 1986.Google Scholar
Sadie, Stanley, ed. The New Grove Dictionary of Opera. London: Macmillan, 1997.Google Scholar
Smith, Bruce R. “Simultaneous Consciousness in Ot(h)ello.” Unpublished paper, 2011.Google Scholar
Stendhal, . Life of Rossini. Trans. Coe, Richard. New York: Criterion, 1957.Google Scholar
Wilson, Christopher R.William Shakespeare.” The New Grove Dictionary of Opera. Ed. Sadie, Stanley. London: Macmillan, 1997. 338–47.Google Scholar

Further reading

Schmidgall, Gary. Shakespeare and Opera. New York: Oxford UP, 1990.Google Scholar
Wills, Garry. Verdi’s Shakespeare: Men of the Theater. New York: Viking, 2011.Google Scholar

Sources cited

Banes, Sally. Dancing Women: Female Bodies on Stage. London: Routledge, 1998.Google Scholar
Bennett, Karen. “‘Star-Cross’d Lovers’ in the Age of AIDS: The Intermediality of Rudolf Nureyev’s Romeo and Juliet.” Literary Intermediality: The Transit of Literature through the Media Circuit. Ed. Punzi, Maddalena Pennacchia. Bern: Peter Lang, 2007. 127–44.Google Scholar
Brissenden, Alan. “Ballet.” Oxford Companion to Shakespeare. Ed. Dobson, Michael and Wells, Stanley. Oxford: Oxford UP, 2001. 3435.Google Scholar
Desmond, Jane C., ed. Meaning in Motion: New Cultural Studies of Dance. Durham: Duke UP, 1997.CrossRefGoogle Scholar
Foster, Susan L. Choreography and Narrative: Ballet’s Staging of Story and Desire. Bloomington: Indiana UP, 1996.Google Scholar
Garafola, Lynn, ed. Rethinking the Sylph: New Perspectives on the Romantic Ballet. Hanover: Wesleyan UP, 1997.Google Scholar
Hamlet Ballet. Kultur Video, 1994.Google Scholar
Howard, Skiles. The Politics of Courtly Dancing in Early Modern England. Amherst: U of Massachusetts P, 1998.Google Scholar
Isenberg, Nancy. “Accommodating Shakespeare to Ballet: John Cranko’s Romeo and Juliet (Venice, 1958).” Shifting the Scene: Shakespeare in European Culture. Ed. Engler, Balz and Bezzola, Ladina. Newark: U of Delaware P, 2004. 129–39.Google Scholar
Isenberg, Nancy. “Beyond the Black and White Paradigm: The Casting of Othello and Desdemona on the Ballet Stage.” Shakespeare Postcoloniale. Ed. D’Amico, Masolino and Corso, Simona. Roma: Edizioni di Storia e Letteratura, 2009. 157–69.Google Scholar
Isenberg, Nancy. “Dancing with the Stars in Antony and Cleopatra.” Questioning Bodies in Shakespeare’s Rome. Ed. Del Sapio, Maria, Isenberg, Nancy, and Pennacchia, Maddalena. Goettingen: Vandenhoeck and Ruprecht, 2010.Google Scholar
Isenberg, Nancy. “Dramatic Leaps and Political Falls: Russian Hamlet Ballet in 1991.” The Hamlet Zone: Reworking Hamlet in European Cultures. Ed., Owen, Ruth. Cambridge: Cambridge Scholars Publishing, 2012. 1730.Google Scholar
Isenberg, Nancy. “Feminist Movement and the Balance of Power in John Cranko’s Ballet, The Taming of the Shrew (Stuttgart, 1969).” Shakespeare and European Politics. Ed. Delabastita, Dirk, De Vos, Jozef, and Franssen, Paul. Newark: U of Delaware P, 2008. 69178.Google Scholar
Isenberg, Nancy. “Latino Spider Bites: Shifting Vocabularies of Otherness for Bianca in a Recent Othello Ballet.” Forms of Migration. Migration of Forms. Ed. Intonti, V., Troisi, F., and Vitale, M.. Bari: Progedit, 2009. 13121.Google Scholar
Krasovskaya, Vera. “Ballet Changes, Shakespeare Endures.” Trans. Cohen, Selma Jeanne. Ballet Review 19.2 (summer 1991): 7180.Google Scholar
Sanders, Julie. “‘Shall We Dance?’ Shakespeare at the Ballet.” Shakespeare and Music: Afterlives and Borrowings. Cambridge: Polity, 2007. 5972.Google Scholar
San Francisco Ballet. Lars Lubovitch’s “Othello.” 2001. Kultur Video, 2003.Google Scholar

Further reading

Buckland, Theresa. “All Dances Are Ethnic, But Some Are More Ethnic Than Others: Some Observations on Dance Studies and Anthropology.” Dance Research: The Journal of the Society for Dance Research 17.1 (summer 1999): 321.Google Scholar
Burt, Ramsay. The Male Dancer: Bodies, Spectacle, Sexualities. London: Routledge, 1995.Google Scholar
Carter, Alexandra, ed. The Routledge Dance Studies Reader. London: Routledge, 1998.Google Scholar
Fisher, Jennifer, and Anthony, Shay, eds. When Men Dance: Choreographing Masculinities across Borders. New York: Oxford, 2009.Google Scholar
Goellner, Ellen, and Murphy, Jacqueline Shea, eds. Bodies of the Text: Dance as Theory, Literature as Dance. New Brunswick: Rutgers UP, 1994.Google Scholar
Gottschild, Brenda Dixon. The Black Dancing Body: A Geography from Coon to Cool. New York: Palgrave Macmillan, 2003.Google Scholar
Hanna, Judith Lynne. Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire. Chicago: U of Chicago P, 1988.Google Scholar
Kant, Marion, ed. The Cambridge Companion to Ballet. Cambridge: Cambridge University Press, 2007.Google Scholar
Martin, Randy. Critical Moves: Dance Studies in Theory and Politics. Durham: Duke UP, 1998.Google Scholar
Thomas, Helen. The Body, Dance and Cultural Theory. Houndmills: Palgrave Macmillan, 2003.Google Scholar

Sources cited

Abbott, George, Hart, Lorenz, and Rodgers, Richard. The Boys from Syracuse. Unpublished typescript. Library of Congress, Washington, D.C.Google Scholar
Carlton, Bob. Return to the Forbidden Planet. New York: Samuel French, 1998.Google Scholar
Comden, Betty, and Green, Adolph. The Band Wagon. London: Lorrimer, 1986.Google Scholar
Doran, Gregory, Englishby, Paul, and Bolt, Ranjit. Merry Wives – The Musical. London: Oberon Books, 2006.Google Scholar
Driver, Donald, and Valenti, Michael. Oh, Brother! New York: Samuel French, 1982.Google Scholar
Fink, Bert. Liner notes to Shakespeare on Broadway. CD.Google Scholar
Hischak, Thomas. The Oxford Companion to the American Musical. New York: Oxford UP, 2008.Google Scholar
Rich, Frank. “‘Oh, Brother!,’ A Musical.” New York Times, 11 November 1981.Google Scholar
Richards, Stanley, ed. Great Rock Musicals. New York: Stein and Day, 1979. Contains scripts of Two Gentlemen of Verona and Your Own Thing.Google Scholar

Further reading

Buhler, Stephen M.Musical Shakespeare: Attending to Ophelia, Juliet, and Desdemona.” The Cambridge Companion to Shakespeare and Popular Culture. Ed. Shaughnessy, Robert. Cambridge: Cambridge University Press, 2007.Google Scholar
Dash, Irene G. Shakespeare and the American Musical. Bloomington: Indiana UP, 2010.Google Scholar
Richards, Stanley, ed. Ten Great Musicals of the American Theatre. Radnor: Chilton, 1973. Contains scripts of Kiss Me, Kate and West Side Story.Google Scholar
Teague, Frances. Shakespeare and the American Popular Stage. Cambridge: Cambridge University Press, 2006.Google Scholar

Sources cited

Bloom, Harold. Shakespeare: The Invention of the Human. London: Fourth Estate, 1998.Google Scholar
Dowden, Edward. Shakspere: A Critical Study of His Mind and Art. London: Henry S. King, 1875.Google Scholar
Elgar, Edward. “Falstaff.” Musical Times 54.847 (1913): 575–79. DOI:10.2307/908045.Google Scholar
Hepokoski, James A., and Darcy, Warren. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford UP, 2006.Google Scholar
Hoffmann, E. T. A.Beethoven’s Instrumental Music.” Trans. Locke, Arthur Ware. The Musical Quarterly 3.1 (1917): 123–33. http://www.jstor.org/stable/738009.Google Scholar
Morgann, Maurice. An Essay on the Dramatic Character of Sir John Falstaff. London: T. Davies, 1777.Google Scholar
Nuttall, A. D. A New Mimesis: Shakespeare and the Representation of Reality. London: Methuen, 1983.Google Scholar
Rushton, Julian. Berlioz, “Roméo et Juliette.” Cambridge: Cambridge University Press, 1994.Google Scholar

Further reading

Burnham, Scott G. Beethoven Hero. Princeton: Princeton UP, 1995.Google Scholar
Harper-Scott, J. P. E.Elgar’s Invention of the Human: Falstaff, op. 68.” 19th-Century Music 28.3 (2005): 230–53.Google Scholar
Hepokoski, James A.Beethoven Reception: The Symphonic Tradition.” The Cambridge History of Nineteenth-Century Music. Ed. Samson, Jim. Cambridge: Cambridge University Press, 2002. 424–59.Google Scholar
Hepokoski, James A.Structure and Program in Macbeth: A Proposed Reading of Strauss’s First Symphonic Poem.” Richard Strauss and His World. Ed. Gilliam, Bryan. Princeton: Princeton UP, 1992. 6789.Google Scholar
Samson, Jim, ed. The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002.Google Scholar
Taruskin, Richard. Music in the Nineteenth Century. Vol. 3: Oxford History of Western Music. Oxford: Oxford UP, 2010.Google Scholar

Sources cited

Barasch, Frances K.Harlequin/Harlotry in Henry IV, Part One.” Italian Culture in the Drama of Shakespeare and His Contemporaries. Ed. Marrapodi, Michele. Aldershot: Ashgate, 2007. 2738.Google Scholar
Clubb, Louise George. “Commedia Grave and The Comedy of Errors.” The Comedy of Errors: Critical Essays. Ed. Miola, Robert S.. New York: Garland, 1997.Google Scholar
Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation, and Authorship, 1660–1769. Oxford: Clarendon, 1992.Google Scholar
Giffard, Henry. Harlequin Student: or, the Fall of Pantomime, with the Restoration of the Drama. London: 1741.Google Scholar
Goldoni, Carlo. The Comic Theater. Trans. Miller, John W., introd. Cheney, Donald. Lincoln: U of Nebraska P, 1969.Google Scholar
Henke, R. Performance and Literature in the Commedia Dell’Arte. Cambridge: Cambridge University Press, 2002.Google Scholar
Lea, Kathleen M. Italian Popular Comedy. New York: Russell and Russell, 1934.Google Scholar
O’Brien, John. Harlequin Britain: Pantomime and Entertainment, 1690–1760. Baltimore: Johns Hopkins UP, 2004.Google Scholar
Riccoboni, Luigi. Histoire du Theatre Italien depuis la decadence de la Comedie Latine. Paris: 1728.Google Scholar
Richards, K., and Richards, L.. The Commedia dell’Arte: A Documentary History. Oxford: Blackwell, 1990.Google Scholar
Richardson, Samuel. Letters Written to and for Particular Friends, on the most Important Occasions. London: 1741.Google Scholar
Sadlak, Antoni N. “Harlequin Comes to England: The Early Evidence of the Commedia dell’arte in England and the Formulation of English Harlequinades and Pantomimes.” PhD diss. Tufts U, 1999.Google Scholar
Salerno, Henry F. Scenarios of the Commedia dell’Arte: Flaminio Scala’s Il Teatro delle favole Rappresentative. New York: Limelight, 1967.Google Scholar
Weaver, John. An Essay Towards an History of Dancing. London: Jacob Tonson, 1712.Google Scholar
Weaver, John. The Loves of Mars and Venus. London: Mears and Browne, 1717.Google Scholar

Further reading

Duchartre, Pierre L. The Italian Comedy. 1929. New York: Dover, 1966.Google Scholar
Grewar, Andrew. “Shakespeare and the Actors of the Commedia Dell’Arte.” Studies in the Commedia Dell’Arte. Ed. George, David J. and Gossip, Christopher J.. Cardiff: U of Wales P, 1993. 1347.Google Scholar
Stott, Andrew. The Pantomime Life of Joseph Grimaldi: Laughter, Madness, and the Story of Britain’s Greatest Comedian. London: Canongate, 2010.Google Scholar
Worrall, David. Harlequin Empire: Race, Ethnicity, and the Drama of the Popular Enlightenment. London: Pickering and Chatto, 2007.Google Scholar

Sources cited

Barasch, Frances K.Shakespeare and the Puppet Sphere.” English Literary Renaissance 34.2 (2004): 157–75.Google Scholar
Bell, John. Strings, Hands, Shadows: A Modern Puppet History. Detroit: Institute of Art, 2005.Google Scholar
Burke, Peter. Popular Culture in Early Modern Europe. New York: New York UP, 1978.Google Scholar
Day, John [and Chettle, Henry]. The Blind Beggar of Bednal Green. London: 1659.Google Scholar
Dekker, Thomas, and Wilkins, George. Jests to make you Merie. London: 1607.Google Scholar
Derrida, Jacques. “The Theater of Cruelty and the Closure of Representation.” Trans. Bass, Alan. Writing and Difference. Chicago: U of Chicago P, 1978.Google Scholar
Elyot, Thomas. The dictionary of syr Thomas Eliot knight. London: n.d. [1538].Google Scholar
France, Anatole. “M. Signoret’s Marionettes.” On Life and Letters, Second Series. Trans. Evans, A. W.. The Works of Anatole France. 30 vols. New York: Gabriel Wells, 1924. 27: 137–39.Google Scholar
Greene, Robert. The Life and Complete Works in Prose and Verse of Robert Greene. Ed. Grosart, Alexander B.. 15 vols. 1881–86. Rpt. New York: Russell and Russell, 1966.Google Scholar
Hereford, C. H., and Simpson, Percy, eds. Ben Jonson. 11 vols. Oxford: Clarendon, 1935–63.Google Scholar
Magnin, Charles. Histoire des marionettes en Europe: depuis l’antiquité jusqu’à nos jours. 1861. Rpt. Paris: Slatkin, 1981.Google Scholar
Marston, John. Antonio and Mellida. Ed. Fair, W. Reavley. Manchester: Manchester UP, 1991.Google Scholar
Middleton, Thomas. A Trick to Catch the Old One. Ed. Barber, Charles. Berkeley: U of California P, 1968.Google Scholar
Plato, . The Collected Dialogues of Plato. Ed. Hamilton, Edith and Cairns, Huntington. Princeton: Princeton UP, 1961.Google Scholar
Shaw, Bernard. Shakes versus Shav. Stratford: Lanchester Marionettes, 1949.Google Scholar
Shaw, Bernard. An Unsocial Socialist. New York: Brentano’s, 1911.Google Scholar
Shershow, Scott Cutler. Puppets and “Popular” Culture. Ithaca: Cornell UP, 1995.Google Scholar
Shipley, Joseph. The Origins of English Words: A Discursive Dictionary of Indo-European Roots. Baltimore: Johns Hopkins UP, 1984.Google Scholar
Speaight, George. The History of the English Puppet Theatre. 2nd ed. London: Robert Hale, 1990.Google Scholar

Further reading

Bell, John, ed. Puppets, Masks and Performing Objects. Cambridge: MIT P, 2001.Google Scholar
Blumenthal, Eileen. Puppetry: A World History. New York: Abrams, 2005.Google Scholar
Hedderwick, T. C. H. The Old German Puppet-Play of Doctor Faust. London: 1887.Google Scholar
Jurkowski, Henryk. Aspects of Puppet Theatre: A Collection of Essays. London: Puppet Centre Trust, 1988Google Scholar
Proschan, Frank. “The Semiotic Study of Puppets, Masks, and Performing Objects.” Semiotica 47.1–4 (1983): 346.Google Scholar
Teague, Frances. The Curious History of Bartholomew Faire. Lewisburg: Bucknell UP, 1985.Google Scholar
Tillis, Steve. Towards an Aesthetics of the Puppet: Puppetry as a Theatrical Art. Westport: Greenwood, 1992.Google Scholar
Von Boehn, Max. Dolls and Puppets. New York: Cooper Union, 1966.Google Scholar

Sources cited

Ardley, Neil, Carr, Ian, Gibbs, Mike, and Tracey, Stan. Will Power: A Shakespeare Birthday Celebration in Music. 1975. Vocalion, 2CDSML8412. 2005. CD.Google Scholar
Barthes, Roland. “The Grain of the Voice.” Image, Music Text. Trans. Heath, S.. London: Fontana, 1977. 179–89.Google Scholar
Bristol, Michael. Big-Time Shakespeare. London: Routledge, 1996.Google Scholar
Cunniffe, Thomas. Retro-Review: Cleo Laine. Shakespeare and All That Jazz (Fontana 5209). Jazz History Online. http://jazzhistoryonline.com/Cleo_Laine.html.Google Scholar
Eliot, Thomas S. Four Quartets. London: Faber and Faber, 1944.Google Scholar
Eliot, Thomas S.The Music of Poetry.” On Poetry and Poets. London: Faber and Faber, 1957. 2638.Google Scholar
Ellington, Duke, and His Orchestra. Such Sweet Thunder. 1957. Columbia/Legacy, CK65568. 1999. CD.Google Scholar
Groves, Peter. “My Heart Dances: Rhythm and Emotion in Shakespeare’s Verse.” Conference paper given at ANZSA Conference: Shakespeare and Emotion. University of Western Australia. November 2012.Google Scholar
Hawkes, Terence. That Shakespeherian Rag: Essays on a Critical Process. London: Methuen, 1977.Google Scholar
Laine, Cleo. “Cleo’s Shakespeare Writings.” Unpublished memoir, 2011.Google Scholar
Laine, Cleo, and Dankworth, Johnny. The Collection. Spectrum, 3154 47702. 2002. CD.Google Scholar
Laine, Cleo, and Dankworth, Johnny (with special guest Jacqui Dankworth). Once Upon a Time. Qnote, QNT 10108. 2005. CD.Google Scholar
Eliot, Thomas S. Shakespeare and All That Jazz. Universal Records. 1964. Fontana, B000CSUWY4. 2006. CD.Google Scholar
Lanier, Douglas. “Minstrelsy, Jazz, Rap: Shakespeare, African American Music, and Cultural Legitimation.” Borrowers and Lenders: The Journal of Shakspeare and Appropriation 1.1 (2005): 129. http://www.borrowers.uga.edu/782016/display.Google Scholar
Madrigal, Jazz. Shakespeare’s Music of Love. New Age Music, CD-24016. 1998. CD.Google Scholar
Rutter, John. “Birthday Madrigals.” Feel the Spirit. Collegium Records, COLCD128. 2001. CD.Google Scholar
Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings. Cambridge: Polity, 2007.Google Scholar
Silverman, Stanley. Duke Ellington’s Incidental Music for Shakespeare’s “Timon of Athens.” Varese Records, B000024C43. 1994. CD.Google Scholar

Further reading

Booth, Stephen. An Essay on Shakespeare’s Sonnets. New Haven: Yale UP, 1969.Google Scholar
Buhler, Stephen M.Form and Character in Duke Ellington and Billy Strayhorn’s Such Sweet Thunder.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781406/display.Google Scholar
Buntin, Mat., and Fischlin, Daniel. “Shakespeare, Canada and Jazz: The Ellington Connection.” Canadian Adaptations of Shakespeare Project. http://www.canadianshakespeares.ca/multimedia/audio/m_a_jazz.cfm.Google Scholar
Callaghan, Dympna. Shakespeare’s Sonnets. Malden: Blackwell, 2007.CrossRefGoogle Scholar
Cooke, Mervyn, and Horn, David, eds. The Cambridge Companion to Jazz. Cambridge: Cambridge University Press, 2002.Google Scholar
Corrigan, Alan. “Jazz, Shakespeare and Hybridity: A Script Excerpt from Swingin’ the Dream.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1. 1 (spring–summer 2005). http://www.borrowers.uga.edu/781411/display.Google Scholar
Greenblatt, Stephen. Cultural Mobility: A Manifesto. Cambridge: Cambridge University Press, 2009.Google Scholar
Hansen, Adam. Shakespeare and Popular Music. London: Continuum, 2010.Google Scholar
Hawkes, Terence. “The Duke’s Man: Ellington, Shakespeare and Jazz Adaptation.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781405/display.Google Scholar
Lanier, Douglas. Shakespeare and Modern Popular Culture. Oxford Shakespeare Topics. Oxford: Oxford UP, 2002.Google Scholar
Newmark, Peter. “Serious Songs: Their Texts as Approximate Translations of Their Music.” Translation Quarterly 41 (2006).Google Scholar
Schalkwyk, David. “Poetry and Performance.” The Cambridge Companion to Shakespeare’s Poetry. Ed. Cheney, Patrick. Cambridge: Cambridge University Press, 2007. 241–59.Google Scholar
Teague, Francis. “Swingin’ Shakespeare from Harlem to Broadway.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781407/display.Google Scholar
Van Kampen, Claire. Sleep No More: Incidental Jazz Music Composed by Claire Van Kampen with the Shakespeare’s Globe Musicians. From Globe Theater 2001 production of Macbeth. International Globe Centre. 2001. CD.Google Scholar
Vendler, H. The Art of Shakespeare’s Sonnets. Cambridge: Harvard UP, 1999.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×