Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-77c89778f8-rkxrd Total loading time: 0 Render date: 2024-07-19T15:30:09.431Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  26 April 2018

Brett Gamboa
Brett Gamboa
Affiliation:
Dartmouth College, New Hampshire
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Shakespeare's Double Plays
Dramatic Economy on the Early Modern Stage
 , pp. 272 - 283
Publisher: Cambridge University Press
Print publication year: 2018

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

Abrams, Richard. ‘The Double Casting of Cordelia and Lear’s Fool: A Theatrical View’. Texas Studies in Language and Literature 27 (1985): 354–68.Google Scholar
Ackroyd, Peter. Shakespeare: The Biography. New York: Vintage Books, 2006.Google Scholar
Archer, William. Masks or Faces? A Study in the Psychology of Acting. New York: Hill & Wang, 1957.Google Scholar
Armstrong, Alan. ‘Doubling in The Comedy of Errors’. Shaping Shakespeare for Performance: The Bear Stage. Ed. Loomis, Catherine and Ray, Sid. Lanham: Fairleigh Dickinson University Press, 2016. 189–202.Google Scholar
Armstrong, Alan. ‘“What is Become of Bushy? Where is Green?”: Metadramatic Reference to Doubling Actors in Richard II’. Inside Shakespeare: Essays on the Blackfriars Stage. Ed. Menzer, Paul. Selinsgrove: Susquehanna University Press, 2006. 149–55.Google Scholar
Astington, John. Actors and Acting in Shakespeare’s Time: The Art of Stage Playing. Cambridge: Cambridge University Press, 2010.CrossRefGoogle Scholar
Baker, Roger. Drag: A History of Female Impersonation in the Performing Arts. New York: New York University Press, 1995.Google Scholar
Baker, Donald, Murphy, John L., and Hall, Louis B., Jr., eds. The Late Medieval Religious Plays of Bodleian MSS Digby 133 and E Museo 160. Oxford: Oxford University Press, 1982.Google Scholar
Bakhtin, M.M. The Dialogic Imagination: Four Essays. Ed. Holquist, Michael. Trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981.Google Scholar
Baldwin, T.W. The Organization and Personnel of the Shakespearean Company. Princeton: Princeton University Press, 1927.Google Scholar
Barroll, Leeds. Politics, Plague, and Shakespeare’s Theater: The Stuart Years. Ithaca: Cornell University Press, 1981.Google Scholar
Bearman, Robert. ‘John Shakespeare: A Papist or Just Penniless’. Shakespeare Quarterly 56.4 (2005): 411–33.CrossRefGoogle Scholar
Bearman, Robert. Shakespeare’s Money. Oxford: Oxford University Press, 2016.CrossRefGoogle Scholar
Beckerman, Bernard. Dynamics of Drama: Theory, Method and Analysis. New York: Alfred A. Knopf, 1970.Google Scholar
Beckwith, Sarah. ‘Stephen Greenblatt’s Hamlet and the Forms of Oblivion’. Journal of Medieval and Early Modern Studies 33 (2003): 261–80.CrossRefGoogle Scholar
Belsey, Catherine. ‘Shakespeare’s Little Boys’. Rematerializing Shakespeare. Ed. Reynolds, Bryan and West, William N.. New York: Palgrave Macmillan, 2005. 53–72.CrossRefGoogle Scholar
Ben-Amos, Ilana Krausman. ‘Failure to become Freemen: Urban Apprentices in Early Modern England’. Social History 16.2 (1991): 155–72.CrossRefGoogle Scholar
Bentley, Eric. The Life of the Drama. New York: Atheneum, 1964.Google Scholar
Bentley, Gerald E. The Jacobean and Caroline Stage. Oxford: Clarendon Press, 1941.Google Scholar
Bentley, Gerald E. The Profession of Dramatist in Shakespeare’s Time, 1590–1642. Princeton: Princeton University Press, 1971.Google Scholar
Bentley, Gerald E. The Profession of Player in Shakespeare’s Time, 1590–1642. Princeton: Princeton University Press, 1984.CrossRefGoogle Scholar
Berger, Thomas. ‘Casting Henry V’. Shakespeare Studies 20 (1988): 89–104.Google Scholar
Berry, Ralph. ‘Hamlet’s Doubles’. Shakespeare Quarterly 37.2 (1986): 204–12.CrossRefGoogle Scholar
Berry, Ralph. Shakespeare in Performance: Castings and Metamorphoses. New York: St. Martin’s Press, 1993.CrossRefGoogle Scholar
Bevington, David M. From Mankind to Marlowe: Growth of Structure in the Popular Drama of Tudor England. Cambridge, MA: Harvard University Press, 1962.CrossRefGoogle Scholar
Bloom, Gina. ‘“Thy Voice Squeaks”: Listening for Masculinity on the Early Modern Stage’. Renaissance Drama n.s. 26 (1998): 39–71.CrossRefGoogle Scholar
Bly, Mary. Queer Virgins and Virgin Queans on the Early Modern Stage. Oxford: Oxford University Press, 2000.CrossRefGoogle Scholar
Bolton, J.T., ed. A Philosophical Enquiry into the Origin of Our Ideas of the Beautiful and the Sublime. Notre Dame: University of Notre Dame Press, 1968.Google Scholar
Booth, Stephen. King Lear, Macbeth, Indefinition and Tragedy. New Haven: Yale University Press, 1983.Google Scholar
Booth, Stephen. ‘The Shakespearean Actor as Kamikaze Pilot’. Shakespeare Quarterly 36 (1985): 553–70.CrossRefGoogle Scholar
Bradbrook, M.C. The Rise of the Common Player: A Study of Actor and Society in Shakespeare’s England. London: Chatto & Windus, 1962.Google Scholar
Bradbrook, M.C. ‘The Triple Bond: Audience, Actors, Author in the Elizabethan Playhouse’. The Triple Bond: Plays, Mainly Shakespearean in Performance. Ed. Price, Joseph G. and Willard, Helen D.. University Park and London: Pennsylvania State University Press, 1975.Google Scholar
Bradley, David. From Text to Performance in the Elizabethan Theatre: Preparing the Play for the Stage. Cambridge: Cambridge University Press, 1992.Google Scholar
Brailow, David G. ‘“’Tis here. ’Tis gone.” The Ghost in the Text’. Stage Directions in Hamlet: New Essays and New Directions. Ed. Aasand, Hardin L.. Cranbury: Associated University Presses, 2003. 101–14.Google Scholar
Brandl, Alois. Shakspere. Berlin: E. Hofmann & Co., 1894.Google Scholar
Brantley, Ben. ‘A Down-to-Earth Iago, Evil Made Ordinary; Review of Othello’. Dir. Sam Mendes. New York Times. 11 April 1998.Google Scholar
Brantley, Ben. ‘The Prince In Us All; Review of Hamlet’. Dir. John Caird. New York Times. 1 June 2001.Google Scholar
Brantley, Ben. ‘Something Wicked This Way Comes; Review of Macbeth’. Dir. Rupert Goold. New York Times, 15 February 2008.Google Scholar
Brantley, Ben. ‘Whips and Scorns of Time, Stinging All They Touch; Review of Hamlet’. Dir. Oskar Eustis. New York Times. 18 June 2008.Google Scholar
Bridenbaugh, Carl. Vexed and Troubled Englishmen, 1590–1642. New York and Oxford: Oxford University Press, 1976.Google Scholar
Brooke, Tucker. The Tudor Drama. Boston and New York: Houghton Mifflin Company, 1911.Google Scholar
Bulman, James C., ed. Shakespeare, Theory and Performance. London: Routledge, 1996.Google Scholar
Burke, Edmund. A Philosophical Enquiry into the Origin of our Ideas of the Beautiful and the Sublime. Ed. Bolton, J.T.. Notre Dame: University of Notre Dame Press, 1968 [1757].Google Scholar
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.Google Scholar
Calderwood, James L. Shakespearean Metadrama. Minneapolis: University of Minnesota Press, 1971.Google Scholar
Calderwood, James L. To Be And Not to Be: Negation and Metadrama in Hamlet. New York: Columbia University Press, 1983.CrossRefGoogle Scholar
Callaghan, Dympna. Shakespeare without Women: Representing Gender and Race on the Renaissance Stage. London and New York: Routledge, 2000.Google Scholar
Cartwright, Kent. Shakespearean Tragedy and Its Double: The Rhythms of Audience Response. University Park: Pennsylvania State University Press, 1991.Google Scholar
Cavell, Stanley. Disowning Knowledge: In Seven Plays of Shakespeare. New York: Cambridge University Press, 2003.CrossRefGoogle Scholar
Cerasano, S.P. ‘The Chamberlain’s-King’s Men’. A Companion to Shakespeare. Ed. Kastan, David Scott. Malden, MA: Blackwell, 1999. 328–45.Google Scholar
Chamberlain, Robert. Jocabella, or a Cabinet of Conceits. London: R. Hodgkinson for Daniel Frere, 1640.Google Scholar
Chambers, E.K. The Elizabethan Stage. 4 Volumes. Oxford: Clarendon Press, 1923–1951.Google Scholar
Chambers, E.K. William Shakespeare: A Study of Facts and Problems. 2 Volumes. Oxford: Clarendon Press, 1930.Google Scholar
Coldeway, John C., ed. ‘The Digby Mary Magdalene’. Early English Drama: An Anthology. New York and London: Garland Publishing, 1993.Google Scholar
Collier, John Payne. The History of English Dramatic Poetry to the Time of Shakespeare; and Annals of the Stage to the Restoration. London: J. Murray, 1831.Google Scholar
Cook, Ann Jennalie. The Privileged Playgoers of Shakespeare’s London, 1576–1642. Princeton: Princeton University Press, 1981.Google Scholar
Cooper, Helen. Shakespeare and the Medieval World. London: Bloomsbury Methuen, 2010.Google Scholar
Coryate, Thomas. Coryat’s Crudities. Glasgow: J. MacLehose; New York: Macmillan, 1906 [1611].Google Scholar
Craik, T.W. ‘I know when one is dead and when one lives’. British Academy Shakespeare Lecture, 1979, in the Academy’s Proceedings, vol. lxv.Google Scholar
Craik, T.W. The Tudor Interlude: Stage, Costume, and Acting. Leicester: Leicester University Press, 1958.Google Scholar
Curry, John V. Deception in Elizabethan Comedy. Chicago: Loyola University Press, 1955.Google Scholar
David, Richard. Shakespeare and the Players. Oxford: Oxford University Press, 1961.Google Scholar
Davies, Robertson. Shakespeare’s Boy Actors. New York: Russell & Russell, 1964.Google Scholar
Davison, Richard Allan. ‘The Readiness Was All: Ian Charleson and Richard Eyre’s Hamlet’. Shakespeare, Text and Theater: Essays in Honor of Jay L. Halio. Ed. Potter, Lois and Kinney, Arthur F.. Newark: University of Delaware Press, 1999. 170–82.Google Scholar
Dawson, Anthony. The Culture of Playgoing in Shakespeare’s England. Cambridge: Cambridge University Press, 2005.Google Scholar
Dessen, Alan C. ‘Conceptual Casting in the Age of Shakespeare: Evidence from Mucedorus’. Shakespeare Quarterly 43 (1992): 67–70.CrossRefGoogle Scholar
Dessen, Alan C. Elizabethan Stage Conventions and Modern Interpreters. Cambridge: Cambridge University Press, 1984.CrossRefGoogle Scholar
Dessen, Alan C. Recovering Shakespeare’s Theatrical Vocabulary. Cambridge: Cambridge University Press, 1995.CrossRefGoogle Scholar
Dessen, Alan C. ‘Two Falls and a Trap’. English Literary Renaissance 5 (1975): 291–307.CrossRefGoogle Scholar
Dessen, Alan C., and Thomson, Leslie. A Dictionary of Stage Directions in English Drama 1580–1642. Cambridge: Cambridge University Press, 1999.Google Scholar
Diderot, Denis. The Paradox of Acting. Trans. Walter Herries Pollock. New York: Hill & Wang, 1957.Google Scholar
DiGangi, Mario. The Homoerotics of Early Modern Drama. Cambridge: Cambridge University Press, 1997.CrossRefGoogle Scholar
Dobson, Michael. Shakespeare and Amateur Performance: A Cultural History. Cambridge: Cambridge University Press, 2011.CrossRefGoogle Scholar
Donahue, Peter. Review of Hamlet, dir. Colette Rice. Shakespeare Bulletin 24.3 (2006): 89–92.CrossRefGoogle Scholar
Downes, John. Roscius Anglicanus (1708). Introd. Loftis, John. Los Angeles: University of California Press, 1969.Google Scholar
Dunlop, Olive J. English Apprenticeship and Child Labor, a History. London: T.F. Unwin, 1912.Google Scholar
Dunlop, Olive J. ‘Some Aspects of Early Apprenticeship’. Transactions of the Royal Historical Society 5 (1911): 193–208.CrossRefGoogle Scholar
Dusinberre, Juliet. ‘Squeaking Cleopatras: Gender and Performance in Antony and Cleopatra’. Shakespeare, Theory, and Performance. Ed. Bulman, James C.. New York: Routledge, 1996. 46–67.CrossRefGoogle Scholar
Dutton, Richard. Shakespeare, Court Dramatist. Oxford: Oxford University Press, 2016.CrossRefGoogle Scholar
Ellis, Henry, Sir. Original Letters Illustrative of English History. London: R. Bentley, 1846.Google Scholar
Encyclopaedia of Hindi Cinema. Ed. Gulzar, Govind Nihalani and Chatterjee, Saibal. Mumbai: Popular Prakashan, 2003.Google Scholar
Engle, Lars. Shakespearean Pragmatism: Market of His Time. Chicago: University of Chicago Press, 1993.Google Scholar
Fallow, David. ‘His Father John Shakespeare’. The Shakespeare Circle. Ed. Edmonson, Paul and Wells, Stanley. Cambridge: Cambridge University Press, 2015. 26–39.CrossRefGoogle Scholar
Farabee, Darlene. Shakespeare’s Staged Spaces and Playgoers’ Perceptions. London: Palgrave Macmillan, 2014.CrossRefGoogle Scholar
Fineman, Joel. ‘Fratricide and Cuckoldry: Shakespeare’s Doubles’. Representing Shakespeare: New Psychoanalytic Essays. Ed. Kahn, Coppelia and Schwarz, Murray M.. Baltimore and London: Johns Hopkins University Press, 1980. 70–109.Google Scholar
Fisher, Will. ‘The Renaissance Beard: Masculinity in Early Modern England’. Renaissance Quarterly 54.1 (2001): 155–87.CrossRefGoogle ScholarPubMed
Flecknoe, Richard. A Short Treatise of the English Stage. London: Printed for Simon Neale, 1674.Google Scholar
Forman, Simon. The Autobiography and Personal Diary of Dr. Simon Forman: the celebrated astrologer, from A.D. 1552, to A.D. 1602, from the unpublished manuscripts in the Ashmolean Museum, Oxford. Ed. Halliwell-Phillipps, J.O.. London: For private circulation [Richards, printer], 1849.Google Scholar
Forse, James. Art Imitates Business: Commercial and Political Influences in Elizabethan Theatre. Bowling Green: Bowling Green University State Popular Press, 1993.Google Scholar
Fotheringham, Richard. ‘The Doubling of Roles on the Jacobean Stage’. Theatre Research International 10 (1985): 18–33.CrossRefGoogle Scholar
Frye, Northrop. Anatomy of Criticism. Princeton: Princeton University Press, 1973.Google Scholar
Frye, Northrop. A Natural Perspective. New York: Columbia University Press, 1965.Google Scholar
Frye, Roland Mushat. Shakespeare: The Art of the Dramatist. London: Routledge, 1982.Google Scholar
Gadamer, Hans-Georg. The Relevance of the Beautiful and Other Essays. Cambridge: Cambridge University Press, 1986.Google Scholar
Gamboa, Brett. ‘Letting Unpleasantness Lie: Counter-intuition and Character in The Merchant of Venice’. Shakespeare’s Sense of Character: On the Page and From the Stage. Ed. Ko, Yu Jin and Shurgot, Michael. Aldershot: Ashgate, 2012.Google Scholar
Garber, Marjorie. Quotation Marks. New York: Routledge, 2002.Google Scholar
Garber, Marjorie. Vested Interests: Cross-Dressing and Cultural Anxiety. New York: Routledge, 1992.Google Scholar
Gaw, Allison. ‘Actors’ Names in Basic Shakespearean Texts, with Special Reference to Romeo and Juliet and Much Ado’. PMLA 40.3 (1925): 530–50.Google Scholar
Gayton, Edmund. Pleasant Notes upon Don Quixot. London: Printed by William Hunt, 1654.Google Scholar
Gibson, Gail M. The Theatre of Devotion. Chicago: University of Chicago Press, 1989.Google Scholar
Gibson, Joy Leslie. Squeaking Cleopatras: The Elizabethan Boy Player. Stroud: Sutton, 2000.Google Scholar
Gildon, Charles. The Life of Mr. Thomas Betterton. London: R. Gosling, 1710.Google Scholar
Girard, Rene. A Theater of Envy: William Shakespeare. New York and Oxford: Oxford University Press, 1991.Google Scholar
Goldman, Michael. The Actor’s Freedom: Toward a Theory of Drama. New York: Viking Press, 1975.Google Scholar
Goldman, Michael. Shakespeare and the Energies of the Drama. Princeton: Princeton University Press, 1972.Google Scholar
Gosson, Stephen. Playes Confuted in Five Actions. Ed. Freeman, Arthur. New York: Garland, 1972 [1582].Google Scholar
Grantley, Darryl. ‘Saints’ Plays’. The Cambridge Companion to Medieval English Theatre. Ed. Beadle, Richard. Cambridge: Cambridge University Press, 1994. 165–89.Google Scholar
Graves, R.E. Lighting the Shakespearean Stage, 1567–1642. Cambridge: Cambridge University Press, 1999.Google Scholar
Greenblatt, Stephen. Hamlet in Purgatory. Princeton: Princeton University Press, 2001.Google Scholar
Greenblatt, Stephen. Shakespeare’s Freedom. Chicago: University of Chicago Press, 2010.Google Scholar
Greenblatt, Stephen. Shakespearean Negotiations. Berkeley: University of California Press, 1988.Google Scholar
Greenblatt, Stephen. Will in the World. New York: W.W. Norton & Co., 2004.Google Scholar
Greenblatt, Stephen, Cohen, Walter, Howard, Jean E., Eisaman Maus, Katharine, and McMullan, Gordon, eds. The Norton Shakespeare, 3rd edn. New York: W.W. Norton & Co., 2016.Google Scholar
Greene, Robert. Greenes Groatsworth of Wit, Bought with a Million of Repentance. London: John Haviland, for Henry Bell, 1629 [1592].Google Scholar
Greg, W.W. Dramatic Documents from the Elizabethan Playhouses; Stage Plots: Actors’ Parts: Prompt Books. Oxford: Clarendon Press, 1931.Google Scholar
Greg, W.W. Two Elizabethan Stage Abridgements: The Battle of Alcazar & Orlando Furioso. Oxford: Clarendon Press, 1923.Google Scholar
Grote, David. The Best Actors in the World. Westport: Greenwood Press, 2002.Google Scholar
Gurr, Andrew. The Culture of Playgoing in Shakespeare’s London. 2nd ed. Cambridge: Cambridge University Press, 1996.Google Scholar
Gurr, Andrew. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.Google Scholar
Gurr, Andrew. The Shakespearean Playing Companies. Oxford: Oxford University Press, 1996.CrossRefGoogle Scholar
Gurr, Andrew. The Shakespearean Stage, 1574–1642. 4th ed. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar
Halliday, F.E. A Shakespeare Companion 1564–1964. Baltimore: Penguin, 1964.Google Scholar
Hanawalt, Barbara. Growing Up in Medieval London: The Experience of Childhood in History. New York and Oxford: Oxford University Press, 1993.CrossRefGoogle Scholar
Harbage, Alfred. Annals of English Drama, 975–1700. Philadelphia: University of Pennsylvania Press, 1964.Google Scholar
Harbage, Alfred. Shakespeare’s Audience. New York: Columbia University Press, 1941.CrossRefGoogle Scholar
Harbage, Alfred. ed. William Shakespeare: The Complete Works. Baltimore: Penguin, 1969.Google Scholar
Hartwig, Joan. Shakespeare’s Analogical Scene: Parody as Structural Syntax. Lincoln: University of Nebraska Press, 1993.Google Scholar
Henke, Robert. ‘Pastoral Tragicomedy and The Tempest’. Revisiting the Tempest: The Capacity to Signify. Ed. Bigliazzi, Silvia and Calvi, Lisanna. London: Palgrave Macmillan, 2014.Google Scholar
Henslowe, Philip. Henslowe’s Diary. Ed. Foakes, R.A. and Rickert, R.T. Cambridge: Cambridge University Press, 1961.Google Scholar
Henslowe, Philip. The Henslowe Papers. Ed. Foakes, R.A.. London: Scholar Press, 1977.Google Scholar
Heywood, Thomas. An Apology for Actors. New York: Scholars’ Facsimiles & Reprints, 1941 [1612].Google Scholar
Hillebrand, Harold Newcomb. The Child Actors. New York: Russell & Russell, 1964.Google Scholar
Hinman, Charlton, ed. The Norton Facsimile: The First Folio of William Shakespeare. New York: W.W. Norton & Co., 1968.Google Scholar
Hodgdon, Barbara. ‘Gaining a Father: The Role of Egeus in the Quarto and the Folio’. The Review of English Studies 37.148 (1986): 534–42.Google Scholar
Hodges, C. Walter. Enter the Whole Army: A Pictorial Study of Shakespearean Staging 1576–1616. Cambridge: Cambridge University Press, 1999.Google Scholar
Holmes, Jonathan. Merely Players? Actor’s Accounts of Performing Shakespeare. London: Routledge, 2004.CrossRefGoogle Scholar
Honigmann, E.A.J. Shakespeare: Seven Tragedies: The Dramatist’s Manipulation of Response. London: Macmillan, 1976.CrossRefGoogle Scholar
Hornby, Richard. Drama, Metadrama, and Perception. Lewisburg: Bucknell University Press, 1986.Google Scholar
Howard, Jean E. Shakespeare’s Art of Orchestration: Stage Technique and Audience Response. Urbana: University of Illinois Press, 1984.Google Scholar
Howard, Jean E. The Stage and Social Struggle in Early Modern England. New York: Routledge, 1994.Google Scholar
Hudson, Katherine. The Story of the Elizabethan Boy-Actors. London: Oxford University Press, 1971.Google Scholar
Hyland, Peter. Disguise on the Early Modern English Stage. Farnham: Ashgate, 2011.Google Scholar
Ichikawa, Mariko. Shakespearean Entrances. New York: Palgrave, 2002.CrossRefGoogle Scholar
Ingram, William. The Business of Playing: The Beginnings of the Adult Professional Theater in Elizabethan London. Cornell: Cornell University Press, 1992.CrossRefGoogle Scholar
Ingram, William. ‘The Economics of Playing’. A Companion to Shakespeare. Ed. Kastan, David Scott. Oxford: Blackwell, 1999. 313–27.Google Scholar
Johnson, Samuel. The Yale Edition of the Works of Samuel Johnson. Volume VII. Johnson on Shakespeare. Ed. Sherbo, Arthur. New Haven and London: Yale University Press, 1968.Google Scholar
Jones, Ann Rosalind, and Stallybrass, Peter. Renaissance Clothing and Materials of Memory. Cambridge: Cambridge University Press, 2000.Google Scholar
Jonson, Ben. Poetaster. Ed. Penniman, Josiah Harmer. Boston and London: D.C. Heath and Company, 1913.Google Scholar
Jordan, Thomas. ‘A Prologue, to introduce the first Woman that came to act on the Stage in the Tragedy call’d The Moor of Venice’. A Royal Arbor of Loyal Poesie, Consisting of Poems and Songs. London: Printed by R.W. for Eliz. Andrews, 1663. Illustrations of Old English Literature. Ed. Collier, John Payne. London: Privately Printed, 1866. 24–5.Google Scholar
Joseph, B.L. Elizabethan Acting. London: Oxford University Press, 1964 [1951].Google Scholar
Kathman, David. ‘Grocers, Goldsmiths, and Drapers: Freemen and Apprentices in the Elizabethan Theater’. Shakespeare Quarterly 55.1 (2004): 1–49.CrossRefGoogle Scholar
Kathman, David. ‘The Seven Deadly Sins and Theatrical Apprenticeship’. Early Theatre 14.1 (2011): 121–39.CrossRefGoogle Scholar
Kathman, David. ‘Reconsidering The Seven Deadly Sins’. Early Theatre 7.1 (2004): 13–44.CrossRefGoogle Scholar
Kathman, David. ‘How Old Were Shakespeare’s Boy Actors?’ Shakespeare Survey 58 (2005): 220–46.Google Scholar
Keenan, Siobhan. Acting Companies and their Plays in Shakespeare’s London. London: Bloomsbury Arden, 2014.Google Scholar
King, T.J. Casting Shakespeare’s Plays: London Actors and Their Roles 1590–1642. Cambridge: Cambridge University Press, 1992.Google Scholar
Kleist, Heinrich von. ‘On the Puppet Theater’. Selected Writings. Ed. and trans. David Constantine. Indianapolis: Hackett Publishing, 2004.Google Scholar
Knutson, Roslyn. ‘Falconer to the Little Eyases: A New Date and Commercial Agenda for the “Little Eyases” Passage in Hamlet’. Shakespeare Quarterly 46.1 (1995): 1–31.CrossRefGoogle Scholar
Knutson, Roslyn. Playing Companies and Commerce in Shakespeare’s Time. Cambridge: Cambridge University Press, 2001.CrossRefGoogle Scholar
Ko, Yu Jin. Mutability and Division on Shakespeare’s Stage. Newark: University of Delaware Press, 2004.Google Scholar
Kott, Jan. Shakespeare Our Contemporary. Trans. Boleslaw Taborski. Garden City: Doubleday, 1964.Google Scholar
Kott, Jan. The Gender of Rosalind: Interpretations: Shakespeare, Büchner, Gautier. Evanston: Northwestern University Press, 1992.Google Scholar
Lawrence, W.J. Pre-Restoration Stage Studies. Cambridge, MA: Harvard University Press, 1927.CrossRefGoogle Scholar
Letts, Quentin. ‘Simon Russell Beale and Zoe Wanamaker Make Crumpled Lovers; Review of Much Ado About Nothing’. Dir. Nicholas Hytner. Daily Mail. 19 December 2007. Web.Google Scholar
Levine, Laura L. Men in Women’s Clothing: Anti-theatricality and Effeminization, 1579–1642. Cambridge: Cambridge University Press, 1994.Google Scholar
Lomax, Marion. Stage Images and Traditions: Shakespeare to Ford. Cambridge: Cambridge University Press, 1987.Google Scholar
Lopez, Jeremy. ‘Dream: The Performance History’. A Midsummer Night’s Dream: A Critical Guide. Ed. Buccola, Regina. London: Continuum, 2010. 44–73.Google Scholar
Lopez, Jeremy. Theatrical Convention and Audience Response in Early Modern Drama. Cambridge: Cambridge University Press, 2003.Google Scholar
Loveridge, Lizzie. ‘A CurtainUp London Review; Hamlet’. Dir. John Caird. CurtainUp: The Internet Theater Magazine of Reviews, Features, Annotated Listings. 5 September 2000. www.curtainup.com.Google Scholar
McGuire, Philip C. Speechless Dialect: Shakespeare’s Open Silences. Berkeley: University of California Press, 1985.Google Scholar
Mack, Maynard. ‘Engagement and Detachment in Shakespeare’s Plays’. Essays on Shakespeare and Elizabethan Drama in Honor of Hardin Craig. Ed. Hosley, Richard. Columbia: University of Missouri Press, 1962. 275–96.Google Scholar
Mack, Maynard. ‘The Second Shepherd’s Play: A Reconsideration’. PMLA 93.1 (1978): 78–85.Google Scholar
MacLean, Sally-Beth. ‘Tour Routes: “Provincial wanderings” or Traditional Circuits?’. Medieval and Renaissance Drama in England 6 (1993): 1–14.Google Scholar
McMillin, Scott. ‘Casting for Pembroke’s Men: The Henry VI Quartos and The Taming of A Shrew’. Shakespeare Quarterly 23.2 (1972): 141–59.CrossRefGoogle Scholar
McMillin, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Malone, Edmund, and Boswell, James, eds. The Plays and Poems of William Shakespeare, Vol. III. London: Printed for F.C. and J. Rivington, 1821.Google Scholar
Mann, David. The Elizabethan Player: Contemporary Stage Representation. London: Routledge, 1991.Google Scholar
Mantzius, Karl. A History of Theatrical Art in Ancient and Modern Times, Vol. II. Trans. Louise von Cossel. London: Duckworth & Co., 1903.Google Scholar
Marks, Robert G. Cordelia, King Lear and his Fool. Sydney: House of Cordelia, 1995.Google Scholar
Matchett, William. ‘Some Dramatic Techniques in King Lear’. Shakespeare and the Theatrical Dimension. Ed. McGuire, Philip C. and Samuelson, David A.. New York: AMS Press, 1979. 185–208.Google Scholar
Maus, Katharine. Inwardness and Theater in the English Renaissance. Chicago: University of Chicago Press, 1995.Google Scholar
Meagher, John C. ‘Economy and Recognition: Thirteen Shakespearean Puzzles’. Shakespeare Quarterly 35.1 (1984): 7–21.CrossRefGoogle Scholar
Meagher, John C. Pursuing Shakespeare’s Dramaturgy: Some Contexts, Resources and Strategies in His Playmaking. Madison: Fairleigh Dickinson Press, 2003.Google Scholar
Meagher, John C. Shakespeare’s Shakespeare: How the Plays were Made. New York: Continuum, 2000.Google Scholar
Melchiori, Giorgio. ‘Peter, Balthasar, and Shakespeare’s Art of Doubling’. The Modern Language Review 78 (1983): 777–92.CrossRefGoogle Scholar
Mentz, Steve. ‘Forming Green: Theorising the Early Modern Author in the Groatsworth of Wit’. Writing Robert Greene: Essays on England’s First Notorious Professional Writer. Ed. Kirk Melnikoff and Edward Gieskes. Aldershot: Ashgate, 2008.Google Scholar
Miller, William. ‘Little Eyases’. Shakespeare Quarterly 28.1 (1977): 86–8.CrossRefGoogle Scholar
Moller, Herbert. ‘The Accelerated Development of Youth: Beard Growth as a Biological Marker’. Comparative Studies in Society and History 29.4 (1987): 748–62.CrossRefGoogle Scholar
Moller, Herbert. ‘Voice Change in Human Biological Development’. Journal of Interdisciplinary History 16.2 (1985): 239–53.CrossRefGoogle ScholarPubMed
Montrose, Louis. Purpose of Playing: Shakespeare and the Cultural Politics of the Elizabethan Theatre. Chicago: University of Chicago Press, 1996.Google Scholar
Munday, Anthony. Londons Love, to the Royal Prince Henrie. London: Printed by Edw. Allde for Nathaniell Fosbrooke, 1610.Google Scholar
Munro, Lucy. Children of the Queen’s Revels. Cambridge: Cambridge University Press, 2005.CrossRefGoogle Scholar
Normington, Katie. Gender and Medieval Drama. Cambridge: D.S. Brewer, 2004.Google Scholar
Nungezer, Edwin. A Dictionary of Actors and of Other Persons Associated with the Public Representation of Plays in England before 1642. New York: Greenwood Press, 1968 [1929].Google Scholar
Orgel, Stephen. Imagining Shakespeare: A History of Texts and Visions. New York: Palgrave, 2003.CrossRefGoogle Scholar
Orgel, Stephen. Impersonations: The Performance of Gender in Shakespeare’s England. Cambridge: Cambridge University Press, 1996.Google Scholar
Orgel, Stephen. ‘Nobody’s Perfect: Or Why Did the English Stage Take Boys for Women?’ South Atlantic Quarterly 88 (1989): 7–29.CrossRefGoogle Scholar
Overbury, Thomas, Sir. ‘An Excellent Actor’. A Wife, now the Widdow of Sir Thomas Overburye. Being a most exquisite and singular Poem of the Choice of a Wife. Whereunto are added many witty Characters, and conceited Newes. London: Lawrence Lisle, 1614. The Miscellaneous Works in Prose and Verse of Sir Thomas Overbury, Knt. Now First Collected. Ed. Rimbault, Edward F.. London: John Russell Smith, 1856. 147–8.Google Scholar
Palfrey, Simon and Stern, Tiffany. Shakespeare in Parts. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Peat, Derek. ‘“And that’s true too”: King Lear and the Tension of Uncertainty’. Aspects of King Lear. Ed. Muir, Kenneth and Wells, Stanley. Cambridge: Cambridge University Press, 1982. 43–54.Google Scholar
Pepys, Samuel. The Diary of Samuel Pepys. Ed. Le Gallienne, Richard. New York: Modern Library, 2001.Google Scholar
Perrett, Wilfred. The Story of King Lear. Berlin: Mayer and Müller, 1904.Google Scholar
Platter, Thomas. Thomas Platter’s Travels in England, 1599 (rendered into English from the German, and with introductory matter by Clare Williams). London: J. Cape, 1937.Google Scholar
Pollard, Tanya, ed. Shakespeare’s Theater. Oxford: Blackwell, 2004.CrossRefGoogle Scholar
Potter, Lois. The Life of William Shakespeare. Chichester: Wiley-Blackwell, 2012.CrossRefGoogle Scholar
Potter, Lois. ‘“Nobody’s Perfect”: Actor’s Memories and Shakespeare’s Plays of the 1590s’. Shakespeare Survey 1 (1990): 85–97.Google Scholar
Preston, Thomas. Cambyses. Tudor Plays: An Anthology of Early English Drama. Ed. Creeth, Edmund. New York: Norton, 1966. 443–503.Google Scholar
Priestley, J.B. The Art of the Dramatist. London: Heinemann, 1957.Google Scholar
Prosky, Ida. You Don’t Need Four Women to Play Shakespeare: Bias in Contemporary American Theatre. Jefferson: McFarland Press, 1992.Google Scholar
Prynne, William. Histrio-mastix. London: Printed by E. Allde, A. Mathewes, and W. Jones, 1633.Google Scholar
Rappaport, Steve. Worlds within Worlds: Structures of Life in Sixteenth-Century London. Cambridge: Cambridge University Press, 1989.CrossRefGoogle Scholar
Rastall, R. ‘Female Roles in All-Male Casts’. Medieval English Theatre 7 (1985): 25–50.Google Scholar
Rayner, Alice. ‘Rude Mechanicals and the Specters of Marx’. Theatre Journal 54.4 (2002): 535–54.CrossRefGoogle Scholar
Ridout, Nicholas. Stage Fright, Animals and Other Theatrical Problems. Cambridge: Cambridge University Press, 2006.CrossRefGoogle Scholar
Ringler, William A., Jr. ‘The Number of Actors in Shakespeare’s Early Plays’. The Seventeenth-Century Stage: A Collection of Critical Essays. Ed. Bentley, G.E.. Chicago and London: University of Chicago Press, 1968. 110–34.Google Scholar
Roach, Joseph. The Player’s Passion: Studies in the Science of Acting. Newark: University of Delaware Press, 1985.Google Scholar
Robbins, Elizabeth. ‘On Seeing Madame Bernhardt’s Hamlet’. North American Review 171 (December 1900): 908.Google Scholar
Robinson, Marc. The American Play 1787–2000. New Haven: Yale University Press, 2009.Google Scholar
Rodenberg, Patsy. Speaking Shakespeare. New York: St. Martin’s Press, 2004.Google Scholar
Rosenberg, Marvin. ‘Elizabethan Actors: Men or Marionettes?’ The Seventeenth Century Stage. Ed. Bentley, G.E.. Chicago and London: University of Chicago Press, 1968. 94–109.Google Scholar
Rosenberg, Marvin. The Masks of Hamlet. Cranbury: Associated University Presses, 1992.Google Scholar
Rosenberg, Marvin. The Masks of King Lear. Berkeley: University of California Press, 1972.Google Scholar
Rosenberg, Marvin. ‘The Myth of Shakespeare’s Squeaking Boy Actor – Or Who Played Cleopatra?’ Shakespeare Bulletin 19.2 (2001): 5–6.Google Scholar
Rutter, Carol Chillington. Documents of the Rose Playhouse. Manchester: Manchester University Press, 1999.Google Scholar
Rycroft, Eleanor. ‘Facial Hair and the Performance of Early Modern Masculinity on the Early Modern English Stage’. Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing. Ed. Ostovich, Helen, Syme, Holger Schott, and Griffin., Andrew Burlington: Ashgate, 2009. 217–28.Google Scholar
Rye, William B. England as seen by Foreigners. London: J.R. Smith, 1865.Google Scholar
Schlueter, June. ‘Tybalt in a Bloody Sheet, Paris in the Tomb: Speculations on Doubling and Staging in Romeo and Juliet’. Shakespeare Yearbook 2 (1991): 1–22.Google Scholar
Schneider, Rebecca. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, 2011.CrossRefGoogle Scholar
Schoone-Jongen, Terence G. Shakespeare’s Companies. London: Ashgate, 2008.Google Scholar
Senelick, Lawrence. The Changing Room: Sex, Drag, and Theatre. New York: Routledge, 2000.Google Scholar
Shapiro, Michael. Children of the Revels: The Boy Companies of Shakespeare’s Time and Their Plays. New York: Columbia University Press, 1977.Google Scholar
Shapiro, Michael. ‘Framing the Taming’. The Yearbook of English Studies 23 (1993): 143–66.CrossRefGoogle Scholar
Shapiro, Michael. Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages. Ann Arbor: University of Michigan Press, 1994.Google Scholar
Sher, Anthony. ‘Leontes in The Winter’s Tale and Macbeth’. Players of Shakespeare 5. Ed. Smallwood, Robert. Cambridge: Cambridge University Press, 2003. 91–112.Google Scholar
Shurgot, Michael W. Stages of Play: Shakespeare’s Theatrical Energies in Elizabethan Performance. Newark: University of Delaware Press, 1998.Google Scholar
Sinfield, Alan. Faultlines. Berkeley: University of California Press, 1992.CrossRefGoogle Scholar
Skiles, Howard. ‘Attendant and Others in Shakespeare’s Margins: Doubling in the Two Texts of King Lear’. Theatre Survey 32 (1991): 187–213.Google Scholar
Skiles, Howard. ‘A Re-examination of Baldwin’s Theory of Acting Lines’. Theatre Survey 26 (1985): 1–20.Google Scholar
Skura, Meredith. Shakespeare the Actor and the Purposes of Playing. Chicago: University of Chicago Press, 1993.Google Scholar
Slater, Ann Pasternak. Shakespeare the Director. Sussex: Harvester, 1982.Google Scholar
Smith, Bruce. The Acoustic World of Early Modern England. Chicago: University of Chicago Press, 1999.Google Scholar
Somerset, Alan. ‘“How Chances it they Travel?”: Provincial Touring, Playing Places, and the King’s Men’. Shakespeare Survey 47 (1994): 45–60.CrossRefGoogle Scholar
Speaight, George. The History of the English Puppet Theatre. London: George G. Harrap & Co. Ltd., 1955.Google Scholar
Spencer, Charles. ‘The Best Macbeth I Have Seen; Review of Macbeth’. Dir. Rupert Goold. Telegraph. 27 September 2007.Google Scholar
Sprague, A.C. The Doubling of Parts in Shakespeare’s Plays. London: Society for Theatre Research, 1966.Google Scholar
Stern, Tiffany. Making Shakespeare: From Stage to Page. New York: Routledge, 2004.CrossRefGoogle Scholar
Stern, Tiffany. Rehearsal from Shakespeare to Sheridan. Oxford: Oxford University Press, 2008.Google Scholar
Stroup, Thomas B. ‘Cordelia and the Fool’. Shakespeare Quarterly 12.2 (1961): 127–32.CrossRefGoogle Scholar
Stubbes, Philip. The Anatomie of Abuses. London: Richard Jones, 1583.Google Scholar
Summers, Ellen. ‘A Double Heuristic for Shakespeare’s Doubling’. Staging Shakespeare: Essays in Honour of Alan C. Dessen. Ed. Orlin, Lena Cowen and Johnson-Haddad, Miranda. Newark: Delaware University Press, 2007. 60–75.Google Scholar
Symonds, John A. Shakespeare’s Predecessors in the English Drama. London: Smith Elder, 1903.Google Scholar
Taylor, Paul. ‘Simon Russell Beale: A Performer at His Peak’. Theatre and Dance Feature. Independent. 14 January 2005.Google Scholar
Thaler, Alwin. ‘The Elizabethan Dramatic Companies’. PMLA 35.1 (1920): 123–59.Google Scholar
Travis, Peter. Dramatic Design in the Chester Cycle. Chicago: University of Chicago Press, 1982.Google Scholar
Trilling, Lionel. Sincerity and Authenticity. Cambridge, MA: Harvard University Press, 1972.Google Scholar
Turner, Frederick. Shakespeare’s Twenty-First-Century Economics: The Morality of Love and Money. Oxford: Oxford University Press, 1999.CrossRefGoogle Scholar
van Es, Bart. ‘“Johannes fac Totum”? Shakespeare’s First Contact with the Acting Companies’. Shakespeare Quarterly 61.4 (2010): 551–77.Google Scholar
Walter, Harriet. Other People’s Shoes: Thoughts on Acting. London: Nick Hern Books Ltd., 2003.Google Scholar
Weil, Herbert. ‘“Be Vigilant, I beseech you”: A Fantasia on Dogberry and Doubling in Much Ado About Nothing’. The Ben Jonson Journal 6 (1999): 307–17.Google Scholar
Weimann, Robert. Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre. Ed. Higbee, Helen and West, William. Cambridge: Cambridge University Press, 2000.CrossRefGoogle Scholar
Weimann, Robert. ‘Representation and Performance: The Uses of Authority in Shakespeare’s Theater’. PMLA 107.3 (1992): 497–510.Google Scholar
Wells, Stanley. Shakespeare & Co. London: Penguin, 2006.Google Scholar
Wentersdorf, Karl P. ‘The Origin and Personnel of the Pembroke Company’. Theatre Research International 5.1 (1979): 45–68.CrossRefGoogle Scholar
White, Martin. Renaissance Drama in Action. London: Routledge, 1998.Google Scholar
Wickham, Glynne. Early English Stages, 1300–1660. 3 Volumes. London: Routledge and Kegan Paul, 1959–1981.Google Scholar
Wickham, Glynne, Berry, Herbert, and Ingram, William, eds. English Professional Theatre, 1530–1660. Cambridge: Cambridge University Press, 2000.Google Scholar
Wiggins, Martin, in association with Catherine Richardson. British Drama 1533–1642: A Catalogue. Volume II, III, and IV 1567–1589. Oxford: Oxford University Press, 2012–2014.CrossRefGoogle Scholar
Worthen, W.B. The Idea of the Actor: Drama and the Ethics of Performance. Princeton: Princeton University Press, 1984.CrossRefGoogle Scholar
Worthen, W.B. Shakespeare and the Authority of Performance. Cambridge: Cambridge University Press, 1997.CrossRefGoogle 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.

  • Bibliography
  • Brett Gamboa, Dartmouth College, New Hampshire
  • Book: Shakespeare's Double Plays
  • Online publication: 26 April 2018
  • Chapter DOI: https://doi.org/10.1017/9781108277624.011
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.

  • Bibliography
  • Brett Gamboa, Dartmouth College, New Hampshire
  • Book: Shakespeare's Double Plays
  • Online publication: 26 April 2018
  • Chapter DOI: https://doi.org/10.1017/9781108277624.011
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.

  • Bibliography
  • Brett Gamboa, Dartmouth College, New Hampshire
  • Book: Shakespeare's Double Plays
  • Online publication: 26 April 2018
  • Chapter DOI: https://doi.org/10.1017/9781108277624.011
Available formats
×