Focusing on the practicalities of early modern London theater, this book explores the operational dynamics of Shakespeare's company and its influence on the texts of Hamlet. It delves into how actors' needs and the company's practices shaped the play, offering a fresh perspective on the three early printed versions. By analyzing cue-line variations, the author presents a novel analytical approach that redefines the understanding of authorial intent and textual transmission, challenging traditional views on this complex work.
Shakespeare's four-hundred-year performance history is full of anecdotes – ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact. Such anecdotes are nevertheless a vital index to the ways that Shakespeare's plays have generated meaning across varied times and in varied places. Furthermore, particular plays have produced particular anecdotes – stories of a real skull in Hamlet, superstitions about the name Macbeth, toga troubles in Julius Caesar – and therefore express something embedded in the plays they attend. Anecdotes constitute then not just a vital component of a play's performance history but a form of vernacular criticism by the personnel most intimately involved in their production: actors. These anecdotes are therefore every bit as responsive to and expressive of a play's meanings across time as the equally rich history of Shakespearean criticism or indeed the very performances these anecdotes treat. Anecdotal Shakespeare provides a history of post-Renaissance Shakespeare and performance, one not based in fact but no less full of truth.
"The original Blackfriars closed its doors in the 1640s, ending over half-a-century of performances by men and boys. In 2001, in the Shenandoah Valley of Virginia, it opened once again. The reconstructed Blackfriars, home to the American Shakespeare Center, represents an old playhouse for the new millennium and therefore symbolically registers the permanent revolution in the performance of Shakespeare. Time and again, the industry refreshes its practices by rediscovering its own history. This book assesses how one American company has capitalized on history and in so doing has forged one of its own to become a major influence in contemporary Shakespearean theatre."--Page 4 de la couverture
This Element contends that Shakespeare and performance has long been dominated
by a medium alien to its expression, print, a foreign government that
forecloses alternative conceptualizations and practices.
Der Philosoph Paul Menzer (1873–1960) zählt zu den bedeutendsten Kant-Forschern des vergangenen Jahrhunderts und war fast zwanzig Jahre als Sekretär der Kant-Ausgabe der Berliner Akademie der Wissenschaften tätig. Nach seiner Berufung als Professor an das neugegründete Philosophische Seminar in Halle im Jahr 1908 veröffentlichte er zahlreiche Studien zum deutschen Idealismus, wobei Kants Lehre von der Entwicklung in Natur und Geschichte eine besondere Bedeutung hat. In dieser Arbeit zeigt Menzer den chronologischen und systematischen Zusammenhang zwischen Kants naturgeschichtlichen Lehren und seiner Geschichtsphilosophie auf. Er berücksichtigt sämtliche Schaffensperioden des Philosophen und versucht, die historische Bedingtheit seiner Ideen zu belegen, soweit es die Quellen zulassen. Für die Rekonstruktion von Kants entwicklungsgeschichtlichen Lehren und seiner Weltanschauung in der vorkritischen Phase konnte Menzer auf unveröffentlichte Nachschriften Johann Gottfried Herders aus den Jahren 1762 bis 1764 zurückgreifen.
