This collection offers an overview of the ways in which space has become relevant to the study of Shakespearean drama and theatre. It distinguishes various facets of space, such as structural aspects of dramatic composition, performance space and the evocation of place, linguistic, social and gendered spaces, early modern geographies, and the impact of theatrical mobility on cultural exchange and the material world. These facets of space are exemplified in individual essays. Throughout, the Shakespearean stage is conceived as a topological ‘node’, or interface between different times, places and people – an approach which also invokes Edward Soja’s notion of ‘Thirdspace’ to describe the blend between the real and the imaginary characteristic of Shakespeare’s multifaceted theatrical world. Part Two of the volume emphasises the theatrical mobility of Hamlet – conceptually from an anthropological perspective, and historically in the tragedy’s migrations to Germany, Russia and North America.

Shakespearean thinking is always dynamic: thinking that happens in the living moment of its performance, in quickly passing process. This book offers a model of human mentality that can be shown through the dense immediacy of dramatic thinking, as embodied above all in Shakespeare's working method. Shakespeare Thinking discusses the positioning of Shakespeare as the paradigm of fully human mental creativity from the Romantics to the latest neurological experiments which show that Shakespeare can reveal new understandings of the hard-wiring of the human brain, and the sheer sudden electricity of its synaptic development.

The Oxford Handbook of Shakespeare's Poetry provides the widest coverage yet of Shakespeare's poetry and its afterlife in English and other languages.

A highly engaging text that approaches Shakespeare as a maker of theatre, as well as a writer of literature. Leading performance critics dismantle Shakespeare's texts, identifying theatrical cues in ways which develop understanding of the underlying theatricality of Shakespeare's plays and stimulate further performances.

Local/ Global Shakespeare and Advertising examines the local/ global and rhizomatic phenomenon of Shakespeare as advertised and Shakespeare as advertising. Starting from the importance and the awareness of advertising practices in the early modern period, the volume follows the evolution of the use of Shakespeare as a promotional catalyst up to the twenty-first century. The volume considers the pervasiveness of Shakespeare’s marketability in Anglophone and non-Anglophone cultures and its special engagement with creative and commercial industries. With its inter-and transdisciplinary perspective and its international scope, this book brings new insights into Shakespeare’s selling power, Shakespeare as the object of advertising and Shakespeare as part of the advertising vehicle, in relation to a range of crucial cultural, ideological and political issues.

This engaging study offers fresh readings of canonical Shakespeare plays, illuminating ways stagecraft and language of movement create meaning for playgoers. The discussions engage materials from the period, present revelatory readings of Shakespeare's language, and demonstrate how these continually popular texts engage all of us in making meaning.

Based on the author’s decades of teaching, pedagogical and theatrical research, and his professional experience as actor and director, Making a Scene: Creating a Scene Study Class for Actors offers a pedagogical approach to rehearsal scenes as a primary tool for diagnosis and actor improvement. This volume carefully lays out the case for thinking deeply and critically about the nature of every facet of an acting class: the environment of the classroom, the choice of material for performing, diagnostic tools for responding to scene sessions, and means for engaging all students. This study includes suggestions for a teacher’s philosophy towards the work; a justification for implementing games, improvisations, and etudes; suggestions for resources for exercises both basic and complex; and a brief discussion on approaches to period styles material and connecting it to contemporary student life and issues. Addressed to both the beginning theatre teacher and the seasoned educator, this will be an essential book for anyone seeking to update their work with performers in private studios, high school settings, or in higher education.

The Complete Works: Modern Critical Edition is part of the landmark New Oxford Shakespeare—an entirely new consideration of all of Shakespeare's works, edited afresh from all the surviving original versions of his work, and drawing on the latest literary, textual, and theatrical scholarship. In one attractive volume, the Modern Critical Edition gives today's students and playgoers the very best resources they need to understand and enjoy all Shakespeare's works. The authoritative text is accompanied by extensive explanatory and performance notes, and innovative introductory materials which lead the reader into exploring questions about interpretation, textual variants, literary criticism, and performance, for themselves. The Modern Critical Edition presents the plays and poetry in the order in which Shakespeare wrote them, so that readers can follow the development of his imagination, his engagement with a rapidly evolving culture and theatre, and his relationship to his literary contemporaries. The New Oxford Shakespeare consists of four interconnected publications: the Modern Critical Edition (with modern spelling), the Critical Reference Edition (with original spelling), a companion volume on Authorship, and an online version integrating all of this material on OUP's high-powered scholarly editions platform. Together, they provide the perfect resource for the future of Shakespeare studies.

This bold and compelling revisionist history tells the remarkable story of the forgotten lives and labours of Shakespeare's women editors.