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-76fb5796d-25wd4 Total loading time: 0 Render date: 2024-04-27T11:07:30.089Z Has data issue: false hasContentIssue false

Part XX - Changing Technologies of Stage Performance

Published online by Cambridge University Press:  17 August 2019

By
Shoichiro Kawai
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
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

acting techniquesChinese stagecostumeJapanKabukiKyogenlightingNoh Stageoriginal-practices productionsphysical structuresscenerysound designvisual projectionsamphitheatersBanqueting Houseblack boxesBlackfriars (playhouse)Brook, PeterDavenant, WilliamElizabethan playhousesGarrick, DavidGlobe (playhouse)indoor stagesthe Inns of CourtKing’s MenMichael Reardon’s Swan (playhouse)open stagesprivate theatersproscenium archespublic stagesRestoration spectaclesShakespeare, WilliamShakespeare Memorial Theatrethe “transformed” Royal Shakespeare Theatreacting“acting Shakespeare”active analysisAdler, StellaBarrymore, JohnBarton, JohnBernhardt, SarahBerry, CicelyBranagh, KennethBrando, MarlonCarnicke, Sharon MarieCarnovsky, MorrisCobb, Lee J.Coquelin, Constant-BenoîtCraig, Edward GordonDelsarte, FrançoisGarrick, DavidgesturesGroup TheatreHall, PeterHamletKachalov, VasilyKing LearMethodMoscow Art TheatrePacino, AlperformanceRodenburg, PatsyRoyal Shakespeare CompanyRozanova, IrinaStanislavsky, KonstantinStrasberg, Leesystemvoiceantiquarianarchitectural scenic spaceBaylis, LilianBrecht, Bertoltclothescostumecostume designdecorationElizabethan Stage SocietyGranville-Barker, HarleyGray, Terencehistorical dressJessner, LeopoldKean, CharlesLoutherbourg, PhilipMacready, William Charlesperspective painted sceneryPoel, WilliamRoyal Shakespeare Companyscenographytechnologytheatrical costumiervisual rhetoricwardrobearchitectural scenic spaceBaylis, LilianBrecht, BertoltElizabethan Stage SocietyGranville-Barker, HarleyGray, TerenceJessner, LeopoldKean, CharlesLoutherbourg, PhilipMacready, William Charlesperspective painted sceneryPoel, WilliamRoyal Shakespeare Companyscaenae fronssceneryscenographic theoryShakespeare’s Globe (playhouse)visual rhetoricAppia, AdolphArtaud, AntoninBowdler, ThomasBrecht, BertoltBrook, PeterBrunelleschi, FilippocandlelightChiaroscuroCibber, CollyCraig, Edward GordonDoctor FaustusElizabethan stage“the Family Shakespeare”Florencefootlightgas lightGlobe (playhouse)HamletHenry VI, Part 3Jones, InigoKing Learlightlightinglighting DesignlimelightMacbethMacready, William CharlesMarat/SadeMarlowe, Christophermedieval mystery cyclesMichelangeloA Midsummer Night’s DreamOil LightOthelloParadise of S. FelicePilbrow, RichardRembrandtRenaissanceRichard IIRichard IIIRomeo and JulietSabattini, NicolaSavoy TheatreSerlio, SebastianoshadowSomi, Leone Ebreo diSymons, ArthurTimon of AthensThe Two Gentlemen of VeronaVasari, Giorgioacousmatic relocation of soundacoustic reinforcementamplificationatmosphereauditoriumauditory environmentauralityBanksideBBC Radiophonic WorkshopbelievabilityBlackfriars (playhouse)clichédigital samplingdramaturgyeffectsflourishesGreecehautboysIndiaintermedialityLondonloudspeakermise-en-scènemixing consolesmusical instrument digital interface (MIDI)musical instrumentsnoisemakingnoises-offpanatropePA systemsphonographpicturesque sound“onification”propsprosceniumresonancesamplersequencersoundsound designsound effectssoundscapesound scorespectacular settingsstagecraftstage managertapetape recordingtheatertheater acousticsthunderunderscoringVitruviusclosed-circuit TV (CCTV)computer-generated imagery (CGI)electronovisionintermediaLaterna Magikalive feedlivenesslive relaymultimediapolyscenicprojection designremediationscenographytheatergraphtheatrofilmAcoustic World of Early Modern England: Attending to the O-Factor, The Acting from Shakespeare’s First Folio: Theory, Text and Performanceactorsactors’ partsActors’ Renaissance SeasonAdams, J. C.Allard, BrianAlmost Original Shakespeare CompanyAmerican Globe TheatreAmerican Shakespeare CenterAshcroft, Dame PeggyAshland, OregonAtlanta Shakespeare Companyaudience interactionauthenticityBard In the BarnBasil, JohnBeckerman, BernardBlackfriars ConferenceBlackfriars (playhouse)book of the playcapitalizationCarson, ChristieChambers, E. K.ChicagoChicago Shakespeare TheatreChicago World’s FairCohen, Ralph AlancostumingcuesDenver, ColoradodesignersDessen, Alandirectorsdirectors’ theaterDocuments of Performance in Early Modern EnglandElizabethan Shakespeare CompanyElizabethan Stage SocietyElizabethan underwearEnglish RenaissanceFiennes, RalphFirst FolioFlatter, RichardFoakes, Reginald A.Fox, JamesFreeman, NeilGaines, BarbaraGranville-Barker, HarleyGraves, R. B.group tehearsalGurr, AndrewHampton Court PalaceHenslowe, PhilipHenslowe’s DiaryHildy, Franklin J.Hinman, CharltonHodges, C. WalterInternational Shakespeare’s Globe CenteritalicizationJames Madison UniversityJerash Festival, JordanKarim-Cooper, FarahKatherine (character)Kathman, DavidKiernan, PaulineKincaid, BillKissingford, BrianKnutson, RoslynLondonLopez, JeremyMacLean, Sally-BethMaking Shakespeare: From Stage to PageMary Baldwin CollegeMaryland Shakespeare FestivalMaster of PlayMcCarthy, ClarkeMcMillin, ScottMeterMethod actingMiddle Temple HallMulryne, J. R.Neuss (Germany) GlobeNew American Shakespeare TavernNew England Shakespeare FestivalNew York CityNo Holds BardNorton Facsimile: The First Folio of Shakespeare: Based on Folios in the Folger Shakespeare Library Collections, TheOdessa, Texasoriginal practicesoriginal pronunciationOriginal Practices Shakespeare FestivalOriginal Shakespeare CompanyOrrel, JohnorthographypacePalfrey, SimonPapadinis, Demitra“Partial Theory of Original Practice, A”Petruchio (character)Phoebus’ Cartphoto facsimilesPigeon Creek Shakespeare CompanyPoel, WilliamPortland, Oregonprompt scriptprompterpunctuation“Reconstructing the Globe: Constructing Ourselves”Queen’s MenQueen’s Men and their Plays, TherehearsalRehearsal from Shakespeare to SheridanrepertoryRomeRylance, MarkScacchi, GretaScales, PrunellascholarshipSecrets of Acting Shakespeare: The Original ApproachShakespeare and the Queen’s Men ProjectShakespeare in PartsShakespeare SurveyShakespeare’s First TextsShakespeare’s Globe (playhouse)Shakespeare’s Globe: A Theatrical ExperimentShakespearean authorityShenandoah Shakespeare ExpressShenandoah ValleyShewring, Margaretsingle-gendered castsSmith, Bruce R.Smith, Irwinsound in Renaissance Englandspectaclespeech prefixesspellingStaging Shakespeare at the New GlobeStanislavsky, KonstantinStaunton, VirginiaStern, TiffanyStratford, Ontario Shakespeare FestivalStratford, ConnecticutStyan, J. L.Swan (playhouse)Swan Theater drawingSydney, AustraliaThe Taming of the ShrewTheatre Royal Haymarkettheaterstheatrical architecturetheatrical contaminationtheme parksThomson, LeslieTiramani, JennyTokyoToronto, Ontario, CanadaTucker, Patrickuniversal lightingunlocalized platformVan Kampen, ClaireW. W. NortonWanamaker, SamWarren, JimWeingust, DonWestern Illinois UniversityWorthen, W. B.York, Susannah
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1417 - 1482
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

Bevington, David. Action Is Eloquence: Shakespeare’s Language of Gesture. Cambridge: Harvard UP, 1984.CrossRefGoogle Scholar
Bradbrook, M. C. Elizabethan Stage Conditions: A Study of Their Place in the Interpretation of Shakespeare’s Plays. Cambridge: Cambridge University Press, 1932.Google Scholar
Brook, Peter. The Empty Space. London: McGibbon and Kee, 1968.Google Scholar
Crabtree, Susan, and Beudert, Peter. Scenic Art for the Theatre: History, Tools, and Techniques. Burlington: Elsevier Science, 1998.Google Scholar
Craig, Edward Gordon. On the Art of the Theatre. London: Heinemann, 1911.Google Scholar
Dryden, John. The Rival Ladies. London, 1664.CrossRefGoogle Scholar
Evans, G. Blakemore, ed. Romeo and Juliet by Shakespeare, William. The New Cambridge Shakespeare. 2nd ed. Cambridge: Cambridge University Press, 2003.Google Scholar
Graves, Robert B. Lighting the Shakespearean Stage, 1567–1647. Carbondale: Southern Illinois UP, 2009.Google Scholar
Gurr, Andrew. Playgoing in Shakespeare’s London. 2nd ed. Cambridge: Cambridge University Press, 1996.Google Scholar
Gurr, Andrew. The Shakespearean Stage. 3rd ed. Cambridge: Cambridge University Press, 1992.Google Scholar
Hortmann, Wilhelm. Shakespeare on the German Stage: The Twentieth Century. Cambridge: Cambridge University Press, 1998.Google Scholar
Jonson, Ben. The Masque of Queens. London: Richard Bonian and Henry Walley, 1609.Google Scholar
Leach, Robert. Vsevolod Meyerhold. Directors in Perspective. Cambridge: Cambridge University Press, 1998.Google Scholar
Levenson, Jill L., ed. Romeo and Juliet. By Shakespeare, William. Oxford World Classics. Oxford: Oxford UP, 2000.Google Scholar
Rosenberg, Marvin. “Elizabethan Actors: Men or Marionettes?” Publications of the Modern Language Association of America 49 (1954): 915–27.Google Scholar
Sabattini, Nicola. Practica di fabrica scene e machine ne Teatri. Ravenna: 1638.Google Scholar
Seltzer, Daniel. “The Actors and Staging.” A New Companion to Shakespeare Studies. Ed. Muir, K. and Schoenbaum, S.. Cambridge: Cambridge University Press, 1971.Google Scholar
Smith, Bruce R. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Somi, Leone Ebreo. Four Dialogues on Scenic Representation. 1556.Google Scholar
Stubbes, Phillip. The Anatomie of Abuses. London: William Wright, 1583.Google Scholar
Takahashi, Yasunari. “Kyogenising Shakespeare/Shakespeareanising Kyogen.” Shakespeare and the Japanese Stage. Ed. Sasayama, Takashi, Mulryne, J. R., and Shewring, Margaret. Cambridge: Cambridge University Press, 1998. 214–40.Google Scholar
Taylor, Gary. “Divine [ ] sences.” Shakespeare Survey 54 (2001): 13–30.Google Scholar
Vasari, Giorgio. Lives of the Most Excellent Painters, Sculptors, and Architects. Florence: 1550.Google Scholar
Weimann, Robert. Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre. Cambridge: Cambridge University Press, 2000.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition: Studies in the Social Dimension of Dramatic Form and Function. Ed. Schwartz, Robert. Baltimore: Johns Hopkins UP, 1978.Google Scholar
Wilson, John Dover, and Quiller-Couch, Arthur, eds. A Midsummer Night’s Dream. By Shakespeare, William. The New Shakespeare. Cambridge: Cambridge University Press, 1924.Google Scholar
Zeami, . The Flowering Spirit: Classic Teachings on the Art of No. Trans. Wilson, William Scott. Tokyo: Kodansha International, 2006.Google Scholar

Further reading

Baugh, Christopher. Theatre, Performance and Technology: The Development of Scenography in the Twentieth Century. Basingstoke: Palgrave Macmillan, 2005.Google Scholar
Beckerman, Bernard. Shakespeare at the Globe, 1599–1609. New York: Macmillan, 1962.Google Scholar
Broadhurst, Susan, and Machon, Josephine, eds. Performance and Technology: Practices of Virtual Embodiment and Interactivity. Basingstoke: Palgrave Macmillan, 2006.Google Scholar
Cohen, Adam Max. Shakespeare and Technology: Dramatizing Early Modern Technological Revolutions. Basingstoke: Palgrave Macmillan, 2006.Google Scholar
Dessen, Alan C. Elizabethan Drama and the Viewer’s Eye. Chapel Hill: U of North Carolina P, 1977.Google 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
Joseph, Bertrand L. Elizabethan Acting. 2nd ed. London: Oxford UP, 1964.Google Scholar
Sawday, Jonathan. Engines of the Imagination: Renaissance Culture and the Rise of the Machine. New York: Routledge, 2007.Google Scholar
Southern, Richard. The Seven Ages of the Theatre. London: Faber, 1962.Google Scholar

Sources cited

Banham, Martin, ed. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press, 1995.Google Scholar
Bergeron, David M. English Civic Pageantry, 1558–1642. London: Edward Arnold, 1971.Google Scholar
Bergeron, David M. “The Hoby Letter and Richard II: A Parable of Criticism.” Shakespeare Quarterly 26 (1975): 477–80.CrossRefGoogle Scholar
Blatherwick, Simon. “The Archaelogical Evaluation of the Globe Playhouse.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R[onnie] and Shewring, Margaret. Cambridge: Cambridge University Press, 1997. 67–80.Google Scholar
Booth, Michael. Victorian Spectacular Theatre, 1850–1910. London: Routledge and Kegan Paul, 1981.Google Scholar
Boyd, Michael. Transforming Our Theatres: Our Future. Stratford-upon-Avon: Royal Shakespeare Company, 2009.Google Scholar
Brook, Peter. The Empty Space. London: McGibbon and Kee, 1968. Rpt. Harmondsworth: Penguin, 1972.Google Scholar
Brown, John Russel. Free Shakespeare. London: Heinemann, 1974.Google Scholar
Dutton, Richard, ed. Jacobean Civic Pageants. Keele: Ryburn, 1995.Google Scholar
Greenfield, Jon. “Design as Reconstruction/Reconstruction as Design.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R[onnie] and Shewring, Margaret. Cambridge: Cambridge University Press, 1997. 81–96Google Scholar
Greenfield, Jon. “Reconstructions.” The Rose and the Globe – Playhouses of Shakespeare’s Bankside, Southwark. Ed. Bowsher, Julian and Miller, Pat. London: Museum of London Archaeology, 2009. 120–27.Google Scholar
Gurr, Andrew. “A History of Reconstructions and Some Reasons for Trying.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R[onnie] and Shewring, Margaret. Cambridge: Cambridge University Press, 1997. 27–50.Google Scholar
Gurr, Andrew. Playgoing in Shakespeare’s London. Cambridge: Cambridge University Press, 1987.Google Scholar
Gurr, Andrew. The Shakespearean Playing Companies. Oxford: Clarendon, 1996.Google Scholar
Gurr, Andrew. The Shakespearean Stage, 1574–1642. 4th ed. Cambridge: Cambridge University Press, 2009.Google Scholar
Gurr, Andrew. “Staging the Globe.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R[onnie] and Shewring, Margaret. Cambridge: Cambridge University Press, 1997. 159–68.Google Scholar
Harris, John, Orgel, Stephen, and Strong, Roy. The King’s Arcadia: Inigo Jones and the Stuart Court. London: Arts Council of Great Britain, 1973.Google Scholar
Hodges, C. Walter. The Globe Restored. 2nd ed. Oxford: Oxford UP, 1968.Google Scholar
LeWinter, Oswald, ed. Shakespeare in Europe. Cleveland: Meridian Books, 1963. Rpt. Harmondsworth: Penguin, 1970.Google Scholar
Keenan, Siobhan. Travelling Players in Shakespeare’s England. Basingstoke: Macmillan, 2002.CrossRefGoogle Scholar
McMillin, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Mulryne, J. R[onnie]. “Professional Players in the Guild Hall, Stratford-upon-Avon, 1568–1597.” Shakespeare Survey 60 (2007): 1–22.Google Scholar
Mulryne, [J.] Ronnie. Shakespeare’s Globe Rebuilt. Cambridge: Cambridge University Press, 1997.Google Scholar
Mulryne, [J.] Ronnie. This Golden Round: The Royal Shakespeare Company at the Swan. Stratford-upon-Avon: Mulryne and Shewring, 1989.Google Scholar
Mulryne, [J.] Ronnie, and Shewring, Margaret, eds. Making Space for Theatre: British Architecture and Theatre since 1958. Stratford-upon-Avon: Mulryne and Shewring, 1995.Google Scholar
Nicoll, Allardyce. The Garrick Stage: Theatres and Audience in the Eighteenth Century. Manchester: Manchester UP, 1981.Google Scholar
Orgel, Stephen, and Strong, Roy. Inigo Jones: The Theatre of the Stuart Court. 2 vols. Los Angeles: Sotheby Parke Bernet and UCLA Press, 1973.Google Scholar
Orrell, John. “Designing the Globe, Reading the Documents.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R[onnie] and Shewring, Margaret. Cambridge: Cambridge University Press, 1997. 51–66.Google Scholar
Overbury, Thomas. Characters. London: 1615.Google Scholar
Powell, Jocelyn. Restoration Theatre Production. London: Routledge and Kegan Paul, 1984.Google Scholar
Sasayama, Takashi, Mulryne, J. R[onnie], and Shewring, Margaret, eds. Shakespeare and the Japanese Stage. Cambridge: Cambridge University Press, 1998.Google Scholar
Scolnicov, Hanna, and Holland, Peter. The Play Out of Context: Transferring Plays from Culture to Culture. Cambridge: Cambridge University Press, 1989.Google Scholar
Smith, Irwin. Shakespeare’s Blackfriars Playhouse: Its History and Design. New York: New York UP, 1964. Rpt. London: Owen, 1966.Google Scholar
Sturgess, Keith. Jacobean Private Theatre. London: Routledge and Kegan Paul, 1987.Google Scholar
Webster, John. “To the Reader.” The White Devil. London: 1612Google Scholar
Worden, Blair. “Shakespeare in Life and Art: Biography and Richard II.” Shakespeare, Marlowe, Jonson: New Directions in Biography. Ed. Kozuka, Takashi and Mulryne, J. R[onnie]. Aldershot: Ashgate, 2006. 23–42.Google Scholar

Further reading

Foakes, R[eginald] A. Illustrations of the English Stage, 1580–1642. London: Scolar, 1985.Google Scholar
Leacroft, Richard. The Development of the English Playhouse. London: Eyre Methuen, 1973.Google Scholar
Leacroft, Richard, and Leacroft, Helen. Theatre and Playhouse: An Illustrated History of Theatre Building from Ancient Greece to the Present Day. London: Methuen, 1984.Google Scholar
Mackintosh, Iain. Architecture, Actor and Audience. London: Routledge, 1993.Google Scholar
Minami, Ryuta, Carruthers, Ian, and Gillies, John, eds. Performing Shakespeare in Japan. Cambridge: Cambridge University Press, 2001.Google Scholar
Mullin, Donald C. The Development of the Playhouse: A Survey of Theatre Architecture from the Renaissance to the Present. Berkeley: U of California P, 1970.CrossRefGoogle Scholar
Orrell, John. The Human Stage: English Theatre Design, 1567–1640. Cambridge: Cambridge University Press, 1988.Google Scholar
Orrell, John. The Quest for Shakespeare’s Globe. Cambridge: Cambridge University Press, 1983.Google Scholar
Orrell, John. The Theatres of Inigo Jones and John Webb. Cambridge: Cambridge University Press, 1985.Google Scholar
Rowell, George. The Victorian Theatre: 1792–1914, a Survey. 2nd ed. Cambridge: Cambridge University Press, 1978.Google Scholar
Southern, Richard. The Georgian Playhouse. London: Pleiades, 1948.Google Scholar
Southern, Richard. The Seven Ages of the Theatre. 2nd ed. London: Faber, 1964.Google Scholar

Sources cited

Barton, John. Playing Shakespeare. London: Methuen, 1986.Google Scholar
Beckerman, Bernard. “The 1965 Season at Stratford, Connecticut.” Shakespeare Quarterly 16.4 (autumn 1965): 329–33.CrossRefGoogle Scholar
Berry, Cicely. The Actor and The Text. New York: Applause Books, 1992.Google Scholar
Carnicke, Sharon Marie. Stanislavsky in Focus: An Acting Master for the Twenty-first Century. 2nd ed. London: Routledge, 2008.CrossRefGoogle Scholar
Carnovsky, Morris, with Sander, Peter. “The Eye of the Storm: On Playing King Lear.” Shakespeare Quarterly 28. 2 (spring 1977): 144–50.Google Scholar
Chushkin, N. N. Gamlet-Kachalov [Hamlet-Kachalov]. Moscow: Iskusstvo, 1968.Google Scholar
Cole, Toby, and Chinoy, Helen Krich, eds. Actors on Acting. New York: Crown Publishers, 1970.Google Scholar
Dillon Gable, Josephine. Modern Acting: A Guide for Stage, Screen, and Radio. New York: Prentice-Hall, 1940.Google Scholar
Ignatieva, Maria. Stanislavsky and Female Actors: Women in Stanislavsky’s Life and Art. New York: UP of America, 2008.Google Scholar
Maher, Mary Z. Actors Talk about Shakespeare. New York: Hal Leonard Corp., 2009.Google Scholar
Morrison, Michael A. John Barrymore: Shakespearian Actor. Cambridge: Cambridge University Press, 1997.Google Scholar
Page, Geraldine. “The Bottomless Cup.” Stanislavski and America. Ed. Munk, Erica. New York: Hill and Wang, 1966. 249–51.Google Scholar
Pierpont, Claudia Roth. “A Critic at Large: Method Man.” The New Yorker 84.34 (27 October 2008): 66–73.Google Scholar
Stanislavskii, K. S. Sobranie sochinenii [Collected Works]. Vol. 1. Moscow: Iskusstvo, 1988.Google Scholar
Vinogradskaia, I., ed. Stanislavskii repetiruet: zapisi i stenogrammy repetistii [Stanislavsky Rehearses: Notes and Transcripts of Rehearsals]. Moscow: Moskovskii khudozhestvennyi teatr, 2000.Google Scholar

Further reading

Baron, Cynthia, and Carnicke, Sharon Marie. Reframing Screen Performance. Ann Arbor: U of Michigan P, 2008.CrossRefGoogle Scholar
Chinoy, Helen Krich, ed. Reunion: A Self-Portrait of the Group Theatre. Spec. issue of Educational Theatre Journal 27.4 (1976).Google Scholar
Creegan, George R., ed. Traditions of Acting [Audio Recordings of Actors]. Steubenville: Crest Publishing, 2000.Google Scholar
Hodge, Alison, ed. Actor Training. London: Routledge, 2010. 1–25.Google Scholar
Howard, Tony. Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. Cambridge: Cambridge University Press, 2007.Google Scholar
Knowles, Richard Paul. “Shakespeare, Voice, and Ideology: Interrogating the Natural Voice.” Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 92–112.CrossRefGoogle Scholar
Krasner, David. “Strasberg, Adler and Meisner: Method Acting.” Actor Training. Ed. Hodge, Alison. 2nd ed. London: Routledge, 2010. 144–63.Google Scholar
McTeague, James H. Before Stanislavsky: American Professional Acting Schools and Acting Theory, 1875–1925. Metuchen: Scarecrow, 1993.Google Scholar
Morgan, Joyce Vining. Stanislavski’s Encounter with Shakespeare: The Evolution of a Method. Ann Arbor: UMI Research Press, 1984.Google Scholar
Roach, Joseph R. The Player’s Passion. Newark: U of Delaware P, 1985.Google Scholar
Rodenburg, Patsy. The Need for Words: Voice and the Text. London: Methuen, 1993.Google Scholar
Senelick, Laurence. Gordon Craig’s Moscow Hamlet: A Reconstruction. London: Greenwood, 1982.Google Scholar

Sources cited

Boaden, James. Memoirs of the Life of John Philip Kemble. London: Robert H. Small, 1825.Google Scholar
Burnim, Kalman A. David Garrick, Director. Carbondale: Southern Illinois UP, 1961.Google Scholar
Campbell, Thomas. The Life of Mrs Siddons. London: Effingham Wilson, 1834.Google Scholar
Comyns Carr, Alice. Reminiscences. London: Hutchinson, 1926.Google Scholar
Covent Garden Theatre. Playbill for 8 November 1823. Victoria and Albert Production File for Covent Garden, 1823.Google Scholar
Costume for Volumnia, worn by Evans, Edith 1959. Victoria and Albert Museum, number S.265-1999. http://collections.vam.ac.uk/item/O11945/theatre-costume/.Google Scholar
de Marley, Diana. Costume on the Stage, 1600–1940. London: B. T. Batsford, 1982.Google Scholar
Drury Lane Theatre. Bill of sale. 1713. Victoria and Albert Museum MS S.20-2008. http://collections.vam.ac.uk/item/O145055/bill-of-sale.Google Scholar
Arnold, Janet. Salary sheet. Victoria and Albert Museum MS THM/101.Google Scholar
Howard, Susannah. “Dressing the Egyptian Queen.” Around the Globe 11 (autumn 1999): 14–15.Google Scholar
Latham, Robert, and Matthews, William, eds. The Diary of Samuel Pepys. 11 vols. London: Bell and Hyman, 1970–1983.Google Scholar
Milhous, Judith, and Hume, Robert D.. A Register of English Theatrical Documents, 1660–1737. Carbondale: Southern Illinois UP, 1991.Google Scholar
Mui, Hoh-Cheung, and Mui, Lorna H.. Shops and Shopping in Eighteenth Century England. London: Routledge, 1989.Google Scholar
Nagler, A. M. A Source Book in Theatrical History. New York: Dover, 1959.Google Scholar
Nicoll, Allardyce. The Garrick Stage. Ed. Rosenfeld, Sybil. Manchester: Manchester UP, 1980.Google Scholar
O’Connor, Marion. William Poel and the Elizabethan Stage Society. Cambridge: Chadwyck-Healey, 1987.Google Scholar
Pearson, Richard. A Band of Arrogant and United Heroes: The Story of the Royal Shakespeare Company Production of “The Wars of the Roses.” London: Adelphi Press, 1990.Google Scholar
Planché, James Robinson. “Dramatic Costume.” The Album. Vol. 3. London: William Clowne, 1823. 289–304.Google Scholar
Planché, James Robinson. Recollections and Reflections: A Professional Autobiography. London: Tinsley Brothers, 1872.Google Scholar
Rutter, Carol Chillington. “Unpinning Desdemona (Again).” Shakespeare Bulletin 28.1 (spring 2010): 111–32.Google Scholar
Savoy Theater. Account book 1912–1914. Theater and Performance Department, Victoria and Albert Museum.Google Scholar
Saxe-Wyndham, H. The Annals of Covent Garden Theatre. London: Chatto and Windus, 1906.Google Scholar
Schuessler, Melanie. “Costume Design for the Stage in the United States.” Documenting Stage Design. Performing Arts Resources 27. New York: Theatre Library Association, 2010. 26.Google Scholar
Speaight, Robert. William Poel and the Elizabethan Revival. London: Heinemann, 1954.Google Scholar
Van Lennep, William, ed. The London Stage, 1660–1700. With a critical introduction by Avery, Emmett L. and Scouten, Arthur H.. Carbondale: Southern Illinois UP, 1965.Google Scholar

Further reading

Arnold, Janet. Patterns of Fashion 1: Englishwomen’s Dresses and Their Construction c.1660–1860. Basingstoke: Macmillan, 1984.Google Scholar
Arnold, Janet. Patterns of Fashion 2: Englishwomen’s Dresses and Their Construction c.1860–1940. Basingstoke: Macmillan, 1984.Google Scholar
Ashelford, Janet. The Art of Dress: Clothes and Society, 1500–1914. London: Anova Books, 2009.Google Scholar
Friedland, Nancy E., ed. Documenting Costume Design. New York: Theatre Library Association, 2010.Google Scholar
Holland, Peter. “The Age of Garrick.” Shakespeare: An Illustrated Stage History. Ed. Bate, Jonathan and Jackson, Russell. Oxford: Oxford UP, 1996. 69–91.Google Scholar
Holmes, M. R. Stage Costume and Accessories in the London Museum. London: Her Majesty’s Stationery Office, 1968.Google Scholar
Hume, Robert D. The London Theatre World, 1660–1800. Carbondale: Southern Illinois UP, 1980.Google Scholar
Laver, James. Costume in the Theatre. London: Harrap, 1964.Google Scholar
Motley, . Designing and Making Stage Costumes. London: Studio Vista, 1964.Google Scholar
Nicoll, Allardyce, and Rosenfeld, Sybil. The Garrick Stage, Theatres and Audience in the Eighteenth Century. Manchester: Manchester UP, 1980.Google Scholar

Sources cited

Baugh, Christopher. “Brecht and Stage Design: The Bühnenbildner and the Bühnenbauer.” The Cambridge Companion to Brecht. Ed. Thomson, Peter and Sacks, Glendyr. 2nd ed. Cambridge: Cambridge University Press, 2006. 259–77.Google Scholar
Baugh, Christopher. “Stage Design from Loutherbourg to Poel.” The Cambridge History of the British Theatre. Vol. 2: 1660–1895. Ed. Donohue, J.. Cambridge: Cambridge University Press, 2004. 309–30.Google Scholar
Baugh, Christopher. Theatre, Performance and Technology: The Development of Scenography in the Twentieth Century. London: Palgrave, 2005.Google Scholar
Burian, J. M., ed. The Secret of Theatrical Space: The Memoirs of Josef Svoboda. New York: Applause Books, 1993.Google Scholar
Cave, Richard A. Terence Gray and the Cambridge Festival Theatre. Cambridge: Chadwyk-Healey, 1980.Google Scholar
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon, 1923.Google Scholar
Chambers, E. K. The Medieval Stage. 2 vols. Oxford: Clarendon, 1903.Google Scholar
Cornwell, Paul. Only by Failure: The Many Faces of the Impossible Life of Terence Gray. Cambridge: Salt, 2004.Google Scholar
Foakes, R. A., ed. Henslowe’s Diary. 2nd ed. Cambridge: Cambridge University Press, 2002.Google Scholar
Kernodle, George R. From Art to Theatre: Form and Convention in the Renaissance. Chicago: U of Chicago P, 1944.Google Scholar
Lawrence, W. J. The Elizabethan Playhouse and other Studies. 2 vols. Stratford-upon-Avon: Shakespeare Head Press, 1912.Google Scholar
Marshall, Norman. The Producer and the Play. 2nd ed. London: Macdonald, 1962.Google Scholar
Nolan, Sidney. “Painting and the Stage.” The Reynolds Lecture, 4 July 1988. London: Royal Academy of Arts, 1988.Google Scholar
Poel, William. Shakespeare in the Theatre. London: Sidgwick and Jackson, 1913.Google Scholar
Rowell, George. Queen Victoria Goes to the Theatre. London: Paul Elek, 1978.Google Scholar
Schechner, Richard. “A New Paradigm for Theatre in the Academy.” The Drama Review 36.4 (1992): 8.Google Scholar
Sidney, Philip. “Drama.” A Defence of Poetry. Ed. Van Dorsten, J. A.. Oxford: Oxford UP, 1973. 14–32.Google Scholar

Further reading

Baugh, Christopher. “‘Our Divine Shakespeare, Fitly Illustrated’: The Staging of Shakespeare, 1660–1900.” Shakespeare in Art. Ed. Martineau, J.. New York: Merrell, 2003. 29–39.Google Scholar
Baugh, Christopher. “Scenography and Technology.” The Cambridge Companion to British Theatre, 1730–1830. Ed. Moody, J. and O’Quinn, D.. Cambridge: Cambridge University Press, 2007. 43–56.Google Scholar
Baugh, Christopher. “Shakespeare and the Rhetoric of Scenography, 1770–1825.” Shakespeare in Stages. Ed. Dymkowski, C. and Carson, C.. Cambridge: Cambridge University Press, 2010. 187–209.Google Scholar
Beauman, Sally. The Royal Shakespeare Company: A History of Ten Decades. Oxford: Clarendon, 1982.Google Scholar
Kennedy, Dennis. Granville Barker and the Dream of Theatre. Cambridge: Cambridge University Press, 1985.Google Scholar
Kennedy, Dennis. Looking at Shakespeare: A Visual History of Twentieth-Century Performance. 2nd ed. Cambridge: Cambridge University Press, 2001.Google Scholar
Schafer, Elizabeth. Lilian Baylis: A Biography. Hatfield: The Society for Theatre Research and U of Hertfordshire P, 2006.Google Scholar

Sources cited

Appia, Adolph. Die Musik und die Inscenierung. Munich: 1899.Google Scholar
Brecht, Bertolt. Couragemodell. Berlin: Henschelverlag Kunst und Gesellschaft, 1958.Google Scholar
Brook, Peter. Threads of Time – A Memoir. London: Methuen Drama, 1999.Google Scholar
Craig, Edward Gordon. On the Art of the Theatre. London: Heinemann, 1911.Google Scholar
John Bull. 25 January 1838.Google Scholar
Jonson, Ben. [Complete works.] Herford, Charles H., Simpson, Percy, and Simpson, Evelyn, eds. 11 vols. Oxford: Clarendon, 1925–52.Google Scholar
Kinghorn, A. M. Mediaeval Drama. London: Evans Brothers, 1968.Google Scholar
Mercure Gallant [Venice]. 1683.Google Scholar
Nagler, A. M. A Source Book in Theatrical History. New York: Dover, 1952.Google Scholar
Pilbrow, Richard. Stage Lighting Design: The Art, the Craft, the Life. London: Nick Nern Books, 1997.Google Scholar
Rees, Terence. Theatre Lighting in the Age of Gas. London: The Society for Theatre Research, 1978.Google Scholar
Sabattini, Nicola. Practica di fabrica scene e machine ne Teatri. Ravenna: 1638.Google Scholar
Selden, Samuel, and Sellman, Hunton D.. Stage Scenery and Lighting – A Handbook for Non-professionals. New York: Crofts, 1930.Google Scholar
Serlio, Sebastiano. The First Book of Architecture. London: 1611.Google Scholar
Somi, Leon Ebreo. Dialoghi. Trans. Castiglione, Salvatore J.. Parma: MS Biblioteca Palatina, 1556.Google Scholar
Symons, Arthur. Plays, Acting and Music. London: Constable and Company, 1909.Google Scholar
Vasari, Giorgio. The Lives of the Painters, Sculptors and Architects. Trans. Hinds, A. B.. New York: Dutton, 1927.Google Scholar

Further reading

Bentley, Eric. The Theory of the Modern Stage. London: Penguin, 1968.Google Scholar
Brandt, George W., ed. Modern Theories of Drama. Oxford: Clarendon, 1998.Google Scholar
Carlson, Marvin. Theories of the Theatre. Ithaca: Cornell UP, 1984. Expanded 1993.Google Scholar
Fraser, Neil. Stage Lighting Explained. London: Crowood, 2002.Google Scholar
Reid, Francis. Discovering Stage Lighting. New York: Focal Press, 1995.Google Scholar
Styan, J. L. Modern Drama in Theory and Practice. 3 vols. Cambridge: Cambridge University Press, 1981.Google Scholar
Wickham, Glyn. A History of the Theatre. London: Phaidon, 1985.Google Scholar

Sources cited

Brook, Peter. There Are No Secrets. London: Methuen, 1993.Google Scholar
Brown, Ross. Sound: A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan, 2009.Google Scholar
Collison, David. The Sound of Theatre. Eastbourne: PLASA, 2008.Google Scholar
Hardcastle, E. Wine and Walnuts: Or After Dinner Chit-Chat. London: Longman, printed for Hurst, Rees, Orme and Brown, 1823.Google Scholar
Isaacs, Jacob. Production and Stage-Management at the Blackfriars Theatre. London: Oxford UP, 1933.Google Scholar
Kennedy, Dennis. Granville-Barker and the Dream of Theatre. Cambridge: Cambridge University Press, 1985.Google Scholar
Koller, Ann Marie. The Theatre Duke: Georg II of Saxe-Meiningen and the German Stage. Stanford: Stanford UP, 1984.Google Scholar
Lavender, Andy. “The Builders Association – Super-Vision.” Making Contemporary Theatre. Ed. Lavender, Andy and Harvie, Jen. Manchester: Manchester UP, 2010.Google Scholar
Napier, Frank. Noises-Off – A Handbook of Sound Effects. London: F. Muller, 1936.Google Scholar
Smith, Bruce R. The Acoustic World of Early Modern England – Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Vincent, Harley. “Stage Sounds.” The Strand Magazine 28 (October 1904): 417–22.Google Scholar
Wardle, Irving. The Theatres of George Devine. London: Cape, 1978.Google Scholar

Further reading

Bracewell, John. L. Sound Design in the Theatre. Englewood Cliffs: Prentice Hall, 1993.Google Scholar
Burris-Meyer, H., Mallory, V., and Goodfriend, L.. Sound in the Theatre. Mineola: Radio Magazines, Inc., 1959.Google Scholar
Folkerth, Wes. The Sound of Shakespeare. London: Routledge, 2002.Google Scholar
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester: Destiny Books, 1994.Google Scholar

Sources cited

Burian, Jarka M., ed. The Scenography of Josef Svoboda. Middletown: Wesleyan UP, 1971. Orig. “Nouveaux Elements en Scenographie.” Le Theatre en Tchecoslovaquie. Ed. Jindra, Vladimir. Prague: Divadelní ústav, 1962.Google Scholar
Cartelli, Thomas. “Channeling the Ghosts: The Wooster Group’s Remediation of the 1964 Electronovision Hamlet.” Shakespeare Survey 61 (2008): 147–60.Google Scholar
Dobson, Michael. “Shakespeare Performances in England, 2004.” Shakespeare Survey 58 (2005): 268–97.Google Scholar
Giesekam, Greg. Staging the Screen: The Use of Film and Video in Theatre. Basingstoke: Palgrave Macmillan, 2007.Google Scholar
Gussow, Mel. “Cranking Up a Powerful Hamletmachine.” New York Times 25 May 1986, 20. http://www.nytimes.com/1986/05/25/theater/stage-view-cranking-up-a-powerful-hamletmachine.html.Google Scholar
Harrington, Wendall. “The Season of Projections.” Lighting and Sound America (June 2009): 88–94. http://www.lightingandsoundamerica.com/LSA.html.Google Scholar
Havranek, Vit. “Laterna Magika, Polyekran, Kinoautomat: Media, Technology and Interaction in the Works of Set Designers Josef Svoboda, Alfred Radok and Raduz Cincera, 1958–1967.” Future Cinema: The Cinematic Imaginary after Film. Ed. Shaw, Jeffrey and Weibel, Peter. Cambridge: MIT P, 2003. 102–07.Google Scholar
“Josef Svoboda.” Monoskop. Societyofalgorithm.org. 18 May 2012. http://www.burundi.sk/monoskop/index.php/Josef_Svoboda. Accessed 1 April 2013.Google Scholar
Kennedy, Dennis. Looking at Shakespeare: A Visual History of Twentieth Century Performance. 2nd ed. Cambridge: Cambridge University Press, 2002.Google Scholar
Meyerhold, Vsevolod. “From Reconstruction of the Theatre (1930).” Trans. Hoover, Margorie L.. Tulane Drama Review 11.1 (1966): 186–88.Google Scholar
Pettingill, Richard. “Peter Sellars’s Merchant of Venice: A Retrospective Critique of Process.” Theatre Research International 31.3 (2006): 298–314.Google Scholar
Piscator, Erwin. Political Theatre. Trans. Rorrison, H.. London: Eyre Methuen, 1980.Google Scholar
Potter, Lois. Rev. of Henry V, dir. Nicholas Hytner, Royal National Theater, London. Shakespeare Quarterly 55.4 (2004): 450–61.Google Scholar
Salter, Chris. Entangled: Technology and the Transformation of Performance. Cambridge: MIT P, 2010.Google Scholar
Svoboda, Josef. The Secret of Theatrical Space: The Memoirs of Josef Svoboda. Ed. Burian, J. M.. New York: Applause Books, 1993.Google Scholar
Werner, Sarah. “Two Hamlets: Wooster Group and Synetic Theater.” Shakespeare Quarterly 59.3 (2008): 323–29.Google Scholar
Worthen, W. B. Shakespeare and the Authority of Performance. Cambridge: Cambridge University Press, 1987.Google Scholar

Further Reading

Auslander, Philip. Liveness: Performance in a Mediatized Culture. London: Routledge, 1999.Google Scholar
Baugh, Christopher. Theatre, Performance and Technology: The Development of Scenography in the Twentieth Century. New York: Palgrave Macmillan, 2005.Google Scholar
Bolter, J. David, and Grusin, Richard. Remediation: Understanding New Media. Cambridge: MIT P, 2000.Google Scholar
Burian, Jarka M. “Josef Svoboda: Theatre Artist in an Age of Science.” Educational Theatre Journal 22.2 (May 1970): 123–45.Google Scholar
Burian, Jarka M. “Josef Svoboda’s Scenography for Shakespeare.” Cross Currents 3 (1984): 397–403.Google Scholar
Callens, J., ed. The Wooster Group and Its Traditions. Bern: Peter Lang, 2002.Google Scholar
Carlson, Marvin. “Video and Stage Space: Some European Perspectives.” Modern Drama 46.4 (2003): 614–27.Google Scholar
Dixon, Steve. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge: MIT P, 2007.Google Scholar
Dobson, Michael. “Shakespeare Performances in England, 2003.” Shakespeare Survey 57 (2004): 258–89.CrossRefGoogle Scholar
Ebrahimian, Babak A. The Cinematic Theater. Lanham: Scarecrow, 2004.Google Scholar
Fischlin, Daniel, ed. OuterSpeares: Shakespeare: Intermedia, and the Limits of Adaptation. Toronto: U Toronto P, 2014.CrossRefGoogle Scholar
Jones, Robert Edmond. The Dramatic Imagination. New York: Theatre Arts Books, 1941.Google Scholar
Svoboda, Josef. “Laterna Magika.” Tulane Drama Review 11.1 (1966): 141–49.Google Scholar
Worthen, W. B. “Hamlet at Ground Zero: The Wooster Group and the Archive of Performance.” Shakespeare Quarterly 59.3 (2008): 303–22.Google Scholar

Sources cited

Carson, Christie, and Karim-Cooper, Farah, eds. Shakespeare’s Globe: A Theatrical Experiment. Cambridge: Cambridge University Press, 2008.Google Scholar
Flatter, Richard. Shakespeare’s Producing Hand: A Study of His Marks of Expression to Be Found in the First Folio. 1948. Rpt. New York: Greenwood, 1969.Google Scholar
Freeman, Neil. Shakespeare’s First Texts. Vancouver: Folio Texts, 1994.Google Scholar
Kiernan, Pauline. Staging Shakespeare at the New Globe. Basingstoke: Macmillan; New York: St. Martin’s, 1999.Google Scholar
McMillin, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Palfrey, Simon, and Stern, Tiffany. Shakespeare in Parts. Oxford: Oxford UP, 2007.Google Scholar
Smith, Bruce R. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Stern, Tiffany. Rehearsal from Shakespeare to Sheridan. Oxford: Oxford UP, 2000.Google Scholar
Tucker, Patrick. Secrets of Acting Shakespeare: The Original Approach. New York: Routledge, 2002.Google Scholar
Weingust, Don. Acting from Shakespeare’s First Folio: Theory, Text and Performance. New York: Routledge, 2006.Google Scholar

Further reading

Allen, Michael J. B., and Muir, Kenneth. Shakespeare’s Plays in Quarto: A Facsimile Edition of Copies Primarily from the Huntington Library. Berkeley: U of California P, 1981.Google Scholar
Dessen, Alan C. Recovering Shakespeare’s Theatrical Vocabulary. Cambridge: Cambridge University Press, 1995.Google Scholar
Dessen, Alan C., and Thomson, Leslie. A Dictionary of Stage Directions in English Drama, 1580–1642. Cambridge: Cambridge University Press, 1999.Google Scholar
Foakes, Reginald A., and Rickert, R. T., eds. Henslowe’s Diary: Edited with Supplementary Material, Introduction and Notes. Cambridge: Cambridge University Press, 1961.Google Scholar
Graves, R. B. Lighting the Shakespearean Stage, 1567–1642. Carbondale: Southern Illinois UP, 1999.Google Scholar
Gurr, Andrew. The Shakespearean Stage, 1574–1642. 3rd ed. Cambridge: Cambridge University Press, 1992.Google Scholar
Hinman, Charlton, ed. The Norton Facsimile: The First Folio of Shakespeare, Based on Folios in the Folger Shakespeare Library Collections. 1968. Rpt. New York: Norton, 1996.Google Scholar
Lopez, Jeremy. “A Partial Theory of Original Practice.” Shakespeare Survey 61 (2008): 302–17. Cambridge Collections Online. Cambridge University Press. DOI:10.1017/CCOL9780521898881.023. Accessed 15 September 2010.Google Scholar
Mosten, Doug, ed. The First Folio of Shakespeare. 1623. New York: Applause Books, 1995.Google Scholar
Mulryne, J. R., and Shewring, Margaret, eds. Shakespeare’s Globe Rebuilt. Cambridge: Cambridge University Press, 1997.Google Scholar
Stern, Tiffany. Documents of Performance in Early Modern England. Cambridge: Cambridge University Press, 2009.Google Scholar
Stern, Tiffany. Making Shakespeare: From Stage to Page. London: Routledge, 2004.Google Scholar
See also the series First Folio Editions of Shakespeare, edited by Neil Freeman and published by Applause Books.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
×