Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Introduction
- 212 1 Henry IV: Playhouse Beginnings
- 213 King Lear from the Restoration to the Nineteenth Century
- 214 Hamlet and the Actors: Restoration to Victorian Players
- 215 Henry V: Victorian Stagings
- 216 Romeo and Juliet: Victorian Actresses
- 217 The Tempest: The Design of Prospero’s Island, 1930s–1980s
- 218 Titus Andronicus: Stage and Screen after 1955
- 219 The Taming of the Shrew: Katherina Onstage from the 1970s to the 1990s
- 220 Julius Caesar: Stage Interpretations from the 1970s to the 1990s
- 221 Much Ado about Nothing: Performance History Onstage and in Film, 1980s–1990s
- 222 Macbeth, Three Influential Late Twentieth-Century Productions: Kurosawa, Polanski, Ninagawa
- 223 Measure for Measure: Stage, Film, and Television Productions at the Turn of the Twenty-First Century
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
221 - Much Ado about Nothing: Performance History Onstage and in Film, 1980s–1990s
from Part XXII - Production History
Published online by Cambridge University Press: 17 August 2019
Edited by
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Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Introduction
- 212 1 Henry IV: Playhouse Beginnings
- 213 King Lear from the Restoration to the Nineteenth Century
- 214 Hamlet and the Actors: Restoration to Victorian Players
- 215 Henry V: Victorian Stagings
- 216 Romeo and Juliet: Victorian Actresses
- 217 The Tempest: The Design of Prospero’s Island, 1930s–1980s
- 218 Titus Andronicus: Stage and Screen after 1955
- 219 The Taming of the Shrew: Katherina Onstage from the 1970s to the 1990s
- 220 Julius Caesar: Stage Interpretations from the 1970s to the 1990s
- 221 Much Ado about Nothing: Performance History Onstage and in Film, 1980s–1990s
- 222 Macbeth, Three Influential Late Twentieth-Century Productions: Kurosawa, Polanski, Ninagawa
- 223 Measure for Measure: Stage, Film, and Television Productions at the Turn of the Twenty-First Century
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 1599 - 1604Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Brode, Douglas. Shakespeare in the Movies: From the Silent Era to “Shakespeare in Love.” Oxford: Oxford UP, 2000.Google Scholar
Cartmell, Deborah. Interpreting Shakespeare on Screen. New York: Palgrave Macmillan, 2000.CrossRefGoogle Scholar
Cox, John F. Much Ado about Nothing: Shakespeare in Production. Cambridge: Cambridge University Press, 1997.Google Scholar
Friedman, Michael J. “Male Bonds and Marriage in All’s Well and Much Ado.” Studies in English Literature 35 (1995): 231–49.CrossRefGoogle Scholar
Holland, Peter. English Shakespeares: Shakespeare on the English Stage in the 1990s. Cambridge: Cambridge University Press, 1990.Google Scholar
Lehmann, Courtney. “Much Ado about Nothing? Shakespeare, Branagh and the ‘National-popular’ in the Age of Multinational Capital.” Textual Practice 12 (1998): 1–22.CrossRefGoogle Scholar
Mason, Pamela. Much Ado about Nothing: Text and Performance. New York: Macmillan, 1992.Google Scholar
Rothwell, Kenneth. A History of Shakespeare on Screen: A Century of Film and Television. Cambridge: Cambridge University Press, 1990.Google Scholar
Smallwood, Robert. “Shakespeare Performances in England, 1997.” Shakespeare Survey 51 (1998): 219–56.CrossRefGoogle Scholar
Smallwood, Robert. “Shakespeare Performances in England, 1998.” Shakespeare Survey 52 (1999): 229–53.Google Scholar
Steed, Maggie. “Beatrice in Much Ado About Nothing.” Further Essays in Shakespearean Performance by Players of the Royal Shakespeare Company. Ed. Jackson, Russell and Smallwood, Robert. Players of Shakespeare 3. Cambridge: Cambridge University Press, 1993. 42–51.Google Scholar
Wells, Stanley. Unpublished speech at the fiftieth anniversary of the Shakespeare Institute, 2001.Google Scholar
Further reading
Thomson, Peter. “The Comic Actor and Shakespeare.” The Cambridge Companion to Shakespeare on Stage. Ed. Wells, Stanley and Stanton, Sarah. Cambridge: Cambridge University Press, 2006. 137–54.Google Scholar