Appendix Casts, Production Teams and Opening Dates of Productions Discussed
I. Hamlet, by William Shakespeare. Royal Shakespeare Company.
Opening performance: Royal Shakespeare Theatre, Stratford-upon-Avon, 5 September 1984
Main production team: Director Ron Daniels Designer Maria Bjornson
Main cast (in alphabetical order): Ophelia Frances Barber Claudius Brian Blessed Laertes Kenneth Branagh Horatio Nicholas Farrell Player 2 (Player Queen) Dexter Fletcher Player 1 (Player King) Bernard Horsfall Gertrude Virginia McKenna Polonius Frank Middlemass Hamlet Roger Rees
II. The Duchess of Malfi, by John Webster. Royal Shakespeare Company.
Opening performance: Swan Theatre, Stratford-upon-Avon, 6 December 1989
Main production team: Director Bill Alexander Designer Fotini Dimou
201 202 Appendix
Main cast (in alphabetical order): Duke Ferdinand Bruce Alexander The Cardinal Russell Dixon Cariola Sally Edwards Antonio Bologna Mick Ford Julia Patricia Kerrigan Daniel de Bosola Nigel Terry The Duchess of Malfi Harriet Walter
III. The Duchess of Malfi, by John Webster. Cheek By Jowl.
Opening performances: Bury St. Edmunds, 19 September 1995 Wyndham’s Theatre, London, 2 January 1996
Main production team: Director Declan Donnellan Designer Nick Ormerod
Main cast (in alphabetical order): Daniel de Bosola George Anton The Cardinal Paul Brennen Cariola Avril Clark Duke Ferdinand Scott Handy The Duchess of Malfi Anastasia Hille Antonio Bologna Matthew Macfadyen Julia Nicola Redmond
IV. Titus, based on Titus Andronicus, by William Shakespeare. Motion Picture.
Opened (United States): 11 February 2000 (General Release)
Main production team: Director Julie Taymor Producers Conchita Airoldi Jody Patton Director of Photography Luciano Tovoli Editing Françoise Bonnot Production Design Dante Ferretti Costume Design Milena Canonero Music Elliot Goldenthal Appendix 203
Main cast (in alphabetical order): Saturninus Alan Cumming Lavinia Laura Fraser Titus Andronicus Anthony Hopkins Young Lucius Osheen Jones Tamora Jessica Lange Aaron Harry Lennix Chiron Jonathan Rhys Meyers Demetrius Matthew Rhys
V. Edward II, by Christopher Marlowe. Motion Picture.
Opened (United Kingdom): 15 October 1991
Main production team: Director Derek Jarman Producer Steve Clark-Hall Director of Photography Ian Wilson Editing George Ankers Production Design Christopher Hobbs Costume Design Sandy Powell
Main cast (in alphabetical order): Lightborn Kevin Collins Prince Edward/Edward III Jody Garber Spencer John Lynch Queen Isabella Tilda Swinton Mortimer Nigel Terry Piers Gaveston Andrew Tiernan King Edward II Steven Waddington
IV. The Broken Heart, by John Ford. Royal Shakespeare Company.
Opening performance: Swan Theatre, Stratford-upon-Avon, 19 October 1994
Main production team: Director Michael Boyd Designer Tom Piper 204 Appendix
Main cast (in alphabetical order): Ithocles Robert Bowman Crotolon Tony Britton Philema Julia Crane Penthea Emma Fielding Orgilus Iain Glen Prophilus William Houston Euphrania Elaine Pyke Christalla Fiona Tong Bassanes Philip Voss Calantha Olivia Williams
V. A Woman Killed with Kindness, by Thomas Heywood. Royal Shakespeare Company.
Opening performance: The Other Place, Stratford-upon-Avon, 29 October 1991
Main production team: Director Katie Mitchell Designer Vicki Mortimer
Main cast (in alphabetical order): Sir Charles Mountford Jonathan Cullen Susan Mountford Sylvestra le Touzel Wendoll Barry Lynch John Frankford Michael Maloney Nick Sean Murray Sir Francis Acton Valentine Pelka Anne Frankford Saskia Reeves Jenkin Kenn Sabberton
VI. Hamlet, by William Shakespeare. Young Vic Theatre in Association with the Theatre Royal, Plymouth.
Opening performance: Young Vic Theatre, London, 7 April 1999
Main production team: Director Laurence Boswell Designer Es Devlin Appendix 205
Main cast (in alphabetical order): Gertrude Suzanne Bertish Laertes Christopher Bowen Ophelia Megan Dodds Horatio Richard Lintern Hamlet Paul Rhys Polonius Robin Soans Claudius/The Ghost Donald Sumpter Notes
Introduction: The Destined Livery? Tragedy, Performance, Subject and Spectator
1. Although these two terms can convey distinct and historically specific meanings (Escolme 12), I use them interchangeably in this study, for, as Patrice Pavis notes, both indicate ‘a shared desire to represent and imitate reality onstage as faithfully as possible,’ and in both ‘acting makes the text appear natural, downplaying literary and rhetorical effects, by stressing its spontaneous and psychological aspects’ (Dictionary 302).
1 What we are, but not what we may be: the feminist Ophelia and the (Re)production of gender
1. William Shakespeare, Hamlet, ed. T.J.B. Spencer (Harmondsworth: Penguin Books, 1980): Act 3, Scene 1, line 89. All further references to the playtext will be to this edition.
2 An actor in the main of all: individual and relational selves in The Duchess of Malfi
1. John Webster, The Duchess of Malfi, ed. John Russell Brown (London: Methuen, 1964): Act IV, Scene ii, line 264. All further references to the play- text will be to this edition. 2. The other productions in question are: Adrian Noble’s celebrated 1980 produc- tion at the Royal Exchange, Manchester, with Helen Mirren as the Duchess, Bob Hoskins as Bosola and Mike Gwilym as Ferdinand; Philip Prowse’s 1985 staging for the National Theatre, in which Eleanor Bron played the Duchess, Ian McKellen played Bosola and Jonathan Hyde played Ferdinand; and the 1995 Greenwich Theatre production later seen at Wyndham’s Theatre, directed by Philip Franks and starring Juliet Stevenson as the Duchess, Robert Glenister as Bosola and Simon Russell Beale as Ferdinand. None of these productions are easily viewable on archive video; in order to keep an equal methodological relationship to all the productions I discuss, I have focused on Alexander’s and Donnellan’s productions, which are available in this format. 3. In the performance recorded by the archival video in the Theatre Museum, London, she retained her long evening gloves and a pair of French knickers.
206 Notes 207
3 The natural father and the imaginary daughter: patriarchy as realism and representation in Titus
1. William Shakespeare, Titus Andronicus, ed. Jonathan Bate (Arden Shakespeare; London and New York: Routledge, 1995): Act 1, Scene 1, Line 116. All further references to the playtext will be to this edition.
4 ‘Let Me Forget Myself’: what a queen is good for in Edward II
1. Referred to in the notes hereafter as QEII, while Marlowe’s Edward II is referred to as EII. I use this citation format in order to make the relationship between the two texts as clear as possible. 2. The lines, somewhat modified, are taken from Marlowe’s Edward II, Scene xvii, lines 10–14: ‘And Edward, thou art one among them all, / Whose looseness hath betrayed thy land to spoil / And made the channels overflow with blood. / Of thine own people patron shouldst thou be, / But thou –.’ All citations from Marlowe’s Edward II in this chapter are taken from the edition by Martin Wiggins and Robert Lindsey (London:A&CBlack, 1997).
5 Death and the married maiden: gender reproduction as destruction in The Broken Heart
1. John Ford, The Broken Heart, ed. T.J.B. Spencer (Manchester: Manchester UP, 1980): Act 3, Scene 5, lines 74–79. All further references to the playtext will be to this edition.
6 Tricked like a bride: a new traffic in A Woman Killed with Kindness
1. Thomas Heywood, A Woman Killed with Kindness, ed. Brian Scobie (London: New Mermaids, 1985): Prologue, lines 3–4. All further references to the play- text will be to this edition. 2. I would like to thank Dr Martin Wiggins and the late Doreen Brockbank for having brought this sensory aspect of the experience of Mitchell’s production to my attention. 3. This is Q1 (1607); the 1617 quarto reads, ‘my mistress is a ——’ 4. The badge is dimly visible on Frankford’s (Michael Maloney’s) breast in Figure 8; other production photos, which could not be reproduced here for copyright reasons, display it more clearly. Bibliography
I. Archival materials consulted by production
Hamlet, by William Shakespeare. Directed by Ron Daniels, RSC, Royal Shakespeare Theatre, 1984. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon.
The Duchess of Malfi, by John Webster. Directed by Bill Alexander, RSC, Swan Theatre, Stratford-upon-Avon, 1989. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon.
The Duchess of Malfi, by John Webster. Directed by Declan Donnellan, Cheek By Jowl, Touring and Wyndham’s Theatre, London, 1995–96. Archival video recording held by the Theatre Museum (Covent Garden), Victoria and Albert Museum, London.
Edward II, by Christopher Marlowe. Motion Picture. Directed by Derek Jarman, Miramax, 1991. Video recording, publicity material, costume and set designs, shooting script and film stills held by the British Film Institute, London.
The Broken Heart, by John Ford. Directed by Michael Boyd, RSC, Swan Theatre, Stratford-upon-Avon, 1994. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon.
A Woman Killed with Kindness, by Thomas Heywood. Directed by Katie Mitchell, RSC, The Other Place, Stratford-upon-Avon, 1991. Archival video recording, prompt-book, production photographs held by the Shakespeare Centre, Shakespeare Birthplace Trust, Stratford-upon-Avon.
II. Reviews cited by production
Hamlet, by William Shakespeare. Directed by Ron Daniels, RSC, Royal Shakespeare Theatre, 1984.
Barber, John. ‘A Complex Hamlet.’ Daily Telegraph, 7 September 1984. Billington, Michael. ‘A Prince to Watch.’ Guardian, 7 September 1984. Lloyd Evans, Gareth. ‘Exciting Familiar Expectations.’ Stratford Herald, 14 September 1984. Peter, John. ‘Prince in Torment.’ Sunday Times, 9 September 1984. Ratcliffe, Michael. ‘Itching with Wit.’ Observer, 9 September 1984.
208 Bibliography 209
Say, Rosemary. ‘Three of a Tragic Kind.’ Sunday Telegraph, 9 September 1984. Shrimpton, Nicholas. ‘Shakespearean Performances in Stratford-upon-Avon and London, 1983–84.’ Shakespeare Survey, 38 (1985): 209–12. Wardle, Irving. ‘Hamlet.’ The Times, 7 September 1984. Warren, Roger. ‘Shakespeare at Stratford-upon-Avon.’ Shakespeare Quarterly 36 (1985): 79–81. Wells, Stanley. ‘A Young Man’s Rhetoric.’ TLS, 14 September 1984.
The Duchess of Malfi, by John Webster. Directed by Bill Alexander, RSC, Swan Theatre, Stratford-upon-Avon, 1989.
Billington, Michael. ‘The Duchess of Malfi.’ Guardian, 8 December 1989. Coveney, Michael. ‘The Duchess of Malfi.’ Financial Times, 8 December 1989. Edwardes, Jane. ‘The Duchess of Malfi.’ Time Out, 14 December 1989. Gardner, Lyn. ‘Crowd Pleasers.’ City Limits, 14 December 1989. Gibson, Reg. ‘Rage and Villainy.’ TES, 29 December 1989. Ingram, Margaret. ‘A Marriage of Concealment.’ Stratford Herald, 15 December 1989. Jones, Emrys. ‘Irregular Passions.’ TLS, 22 December 1989. Osborne, Charles. ‘Webster’s Dark Fit of the Horrors.’ Daily Telegraph, 11 December 1989. Taylor, Paul. ‘Paste Jewels in the Crown.’ Independent, 9 December 1989. Wardle, Irving. ‘Descent into Bloody Madness.’ The Times, 8 December 1989. Williams, Hugo. ‘Morality Train off the Rails.’ Correspondent, 10 December 1989.
The Duchess of Malfi, by John Webster. Directed by Declan Donnellan, Cheek By Jowl, Touring and Wyndham’s Theatre, London, 1995–96.
Billington, Michael. Guardian, 22 November 1995. ——. Guardian, 3 January 1996. Butler, Robert. Independent on Sunday, 7 January 1996. Christopher, James. Time Out, 10 January 1996. De Jongh, Nicholas. Evening Standard, 3 January 1996. Gross, John. Sunday Telegraph, 7 January 1996. Hirschorn, Clive. Sunday Express, 7 January 1996. Hughes, David. Mail on Sunday, 7 January 1996. Macaulay, Alastair. Financial Times, 4 January 1996. Morley, Sheridan. Spectator, 20 January 1996. Nightingale, Benedict. The Times, 24 October 1995. ——. ‘Terrible Twins Are Born Again.’ The Times, 4 January 1996. Paton, Maureen. Daily Express, 3 January 1996. Peter, John. Sunday Times, 7 January 1996. Sansom, Ian. ‘Grubs in the Night.’ TLS, 19 January 1996. Schafer, Elizabeth. Research Opportunities in Renaissance Drama, 35 (1996): 49–51. Smith, Neil. What’s On, 10 January 1996. Smith, Peter J. ‘Two Views of Malfi.’ Cahiers Elisabethains, 49 (April 1996): 77–81. Spencer, Charles. Daily Telegraph, 4 January 1996. Taylor, Paul. Independent, 1 January 1996. 210 Bibliography
Titus, adapted from Titus Andronicus by William Shakespeare. Directed by Julie Taymor, Fox Searchlight, 2000.
Holden, Stephen. ‘ “Titus”: Cruelty Hath a Human Face, a Human Heart.’ New York Times, 24 December 1999. Messier, Max. ‘Titus.’ Filmcritic.com, 2000. 29 August 2006
Edward II, by Christopher Marlowe. Motion Picture. Directed and adapted by Derek Jarman, Miramax, 1991.
Borg, Lola. Empire, 29 (November 1991): 31. Brown, Joe. Washington Post, 10 April 1992. Davenport, Hugo. ‘Daring to Yell its Name.’ Daily Telegraph, 17 October 1991. Feay, Suzi. ‘Crimes of Fashion.’ Time Out, 16 October 1991: 67. Hoberman, J. ‘Prisoners of Sex.’ Village Voice, 24 March 1992: 57. Horger, J. ‘Derek Jarman’s Film Adaptation of Marlowe’s Edward II.’ Shakespeare Bulletin, 11:4 (Fall 1993): 37–40. Mars-Jones, Adam. ‘In the Realm of the Senses.’ Independent, 18 October 1991. Moore, Oscar. Screen International, 825 (20 September 1991): 38. Perry, George. ‘An Affair of State.’ Sunday Times, 20 October 1991.
The Broken Heart, by John Ford. Directed by Michael Boyd, RSC, Swan Theatre, Stratford-upon-Avon, 1994 (and with the same main cast at the Pit Theatre, Barbican Centre, London, 1995).
Bassett, Kate. The Times, 24 October 1994. Billington, Michael. Guardian, 24 October 1994. Christopher, James. ‘The Broken Heart.’ Time Out, 26 October 1994. Coveney, Michael. Observer, 23 October 1994. De Jongh, Nicholas. Evening Standard, 7 June 1995. ——. ‘Shuddering Power Play.’ Evening Standard, 20 October 1994. Foss, Roger. What’s On, 14 June 1995. Hagerty, Bill. Today, 28 October 1994. Hirschorn, Clive. Sunday Express, 18 June 1995. Holland, Peter. ‘Modality Ford’s Strange Journeys.’ TLS, 28 October 1994. Macaulay, Alastair. ‘The Broken Heart.’ Financial Times, 21 October 1994. Murray, David. Financial Times, 7 June 1995. Nathan, David. Jewish Chronicle, 28 October 1994. Nightingale, Benedict. The Times, 8 June 1995. Bibliography 211
Peter, John. ‘The Broken Heart.’ Sunday Times, 23 October 1994. Schafer, Elizabeth. Research Opportunities in Renaissance Drama, 34 (1995): 130–2. Spencer, Charles. ‘Trip Down Lust’s Sour Byways.’ Daily Telegraph, 24 October 1994. Taylor, Paul. Independent, 21 October 1994. Tinker, Jack. Daily Mail, 9 June 1995. Walker, Greg. Cahiers Elisabethains, 47 (April 1995): 102–5. Wardle, Irving. Independent on Sunday, 23 October 1994.
A Woman Killed with Kindness, by Thomas Heywood. Directed by Katie Mitchell, RSC, The Other Place, Stratford-upon-Avon, 1991 (and with the same main cast at the Pit, Barbican Centre, London, 1992). Armistead, Claire. ‘A Woman Killed with Kindness.’ Guardian, 21 April 1992. Bayley, Clare. ‘The Dark is Light Enough.’ What’s On, 22 April 1992. Billington, Michael. ‘Sweet and Sour Charity.’ Guardian, 31 October 1991. Christopher, James. ‘A Woman Killed with Kindness.’ Time Out, 22 April 1992. Denford, Antonia. ‘A Woman Killed with Kindness.’ City Limits, 23 April 1992. Edwardes, Jane. ‘A Woman Killed with Kindness.’ Time Out, 7 November 1991. Lapworth, Paul. ‘Cold Compassion.’ Stratford Herald, 1 November 1991. Nightingale, Benedict. ‘Up North and Downhearted.’ The Times, 31 October 1991. Saint George, Andrew. ‘A Woman Killed with Kindness.’ Financial Times, 31 October 1991. Wardle, Irving. ‘A Ride on a Great Reputation.’ Independent, 3 November 1991. Woddis, Carole. ‘The Ordinary Devil.’ What’s On, 6 November 1991.
Hamlet, by William Shakespeare. Directed by Laurence Boswell, Young Vic Theatre, London, April–May 1999. Brown, Georgina. Mail on Sunday, 11 April 1999. Clapp, Susannah. Observer, 11 April 1999. De Jongh, Nicholas. ‘Hamlet.’ Evening Standard, 4 April 1999. Macaulay, Alastair. Financial Times, 9 April 1999. Nightingale, Benedict. ‘Prim, Proper and a Bit of a Weed.’ Times, 9 April 1999. Peter, John. ‘Hamlet, Young Vic.’ Sunday Times, 11 April 1999. Taylor, Paul. Independent, 9 April 1999.
III. Books, articles, films and unpublished material
Adams, Henry Hitch. English Domestic or, Homiletic Tragedy, 1575 to 1642. 1943; New York: Benjamin Blom, 1965. Adorno, Theodor W. Aesthetic Theory. Trans. and ed. Robert Hullot-Kentor. Minneapolis: University of Minnesota Press, 1997. Aebischer, Pascale. Shakespeare’s Violated Bodies: Stage and Screen Performance. Cambridge: CUP, 2004. Allam, Roger. ‘The Duke in Measure for Measure.’ Players of Shakespeare 3. Ed. Russell Jackson and Robert Smallwood. Cambridge: CUP, 1993. 21–41. Althusser, Louis. ‘Ideology and Ideological State Apparatuses.’ Lenin and Philo- sophy and Other Essays. London: New Left Books, 1971. 212 Bibliography
Amussen, Susan Dwyer. An Ordered Society: Gender and Class in Early Modern England. Oxford: Blackwell, 1988. Anderson, Donald K., Jr, ed. Concord in Discord: The Plays of John Ford, 1586–1986. New York: AMS Press, 1986. Anderson, Kathleen. ‘ “Stab as Occasion Serves”: The Real Isabella in Edward II.’ Renaissance Papers (1992): 29–39. Arber, Edward, ed. A Transcript of the Registers of the Company of Stationers of London, 1554–1640 A.D. Vol. 4. London, 1877. Armstrong, Philip. ‘Watching Hamlet Watching: Lacan, Shakespeare and the Mirror/Stage.’ Alternative Shakespeares. Vol. 2. Ed. Terence Hawkes. London and New York: Routledge, 1996. 216–37. Asp, Carolyn. ‘ “Upon her Wit Doth Earthly Honour Wait”: Female Agency in Titus Andronicus.’ Kolin 333–46. Aughterson, Kate. Renaissance Woman: A Sourcebook. London and New York: Routledge, 1995. Auslander, Philip. From Acting to Performance. London and New York: Routledge, 1997. Bamber, Linda. Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare. Stanford: Stanford UP, 1982. Bamford, Karen. Sexual Violence on the Jacobean Stage. New York: St. Martin’s Press, 2000. Barber, Frances. ‘Ophelia in Hamlet.’ Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Ed. Russell Jackson and Robert Smallwood. Cambridge: CUP, 1988. 137–50. Barbour, Reid. Epicures and Stoics: Ancient Legacies in Early Stuart Culture. Amherst: University of Massachusetts Press, 1998. Barish, Jonas. The Antitheatrical Prejudice. Berkeley: University of California Press, 1981. Barker, Deborah E. and Ivo Kamps, eds. Shakespeare and Gender: A History. London and New York: Verso, 1995. Barker, Francis. The Culture of Violence: Essays on Tragedy and History. Manchester: Manchester UP, 1993. ——. The Tremulous Private Body: Essays in Subjection. 1984; Ann Arbor: University of Michigan Press, 1995. Barroll, J. Leeds. Artificial Persons: The Formation of Character in the Tragedies of Shakespeare. Columbia, South Carolina: University of South Carolina Press, 1974. Bartels, Emily C. Spectacles of Strangeness: Imperialism, Alienation, and Marlowe. Philadelphia: University of Pennsylvania Press, 1993. ——. ‘Strategies of Submission: Desdemona, the Duchess, and the Assertion of Desire.’ Studies in English Literature, 1500–1900, 36 (1996): 417–33. Barton, Anne. ‘Oxymoron and the Structure of Ford’s The Broken Heart.’ Essays and Studies, 33 (1980): 70–94. Bate, Jonathan. Introduction. Titus: The Illustrated Screenplay. By Julie Taymor. New York: Newmarket Press, 2000. 8–13. Batty, Bartholemew. The Christian Man’s Closet. Trans. William Lowth. London, 1581. Baudry, Jean-Louis. ‘Ideological Effects of the Basic Cinematic Apparatus.’ Braudy and Cohen 355–65. Bibliography 213
Bazin, André. ‘Theatre and Cinema.’ Mast, Cohen and Braudy 375–86. Behling, Laura L. ‘ “S/He Scandels our Proceedings”: The Anxiety of Alternative Sexualities in The White Devil and The Duchess of Malfi.’ English Language Notes, 33:4 (June 1996): 24–43. Belsey, Catherine. Critical Practice. London and New York: Methuen, 1980. ——. ‘Desire’s Excess and the English Renaissance Theatre: Edward II, Troilus and Cressida, Othello.’ Zimmerman 84–102. ——. ‘Emblem and Antithesis in The Duchess of Malfi.’ Bloom, Modern Critical Interpretations 97–113. ——. ‘Feminism and Beyond.’ Shakespeare Studies, 25 (1997): 32–41. ——. Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture. London: Macmillan, 1999. ——. The Subject of Tragedy: Identity and Difference in Renaissance Drama. London and New York: Methuen, 1985. Belt, Debra. ‘Anti-Theatricalism and Rhetoric in Marlowe’s Edward II.’ ELR, 21:2 (Spring 1991): 115–41. Benjamin, Walter. ‘Theses on the Philosophy of History.’ Illuminations. Ed. Hannah Arendt. New York: Schocken Books, 1969. ——. ‘The Work of Art in the Age of Mechanical Reproduction.’ Mast, Cohen and Braudy 665–81. Bennett, Susan. Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London and New York: Routledge, 1996. Berger, Harry, Jr. Imaginary Audition: Shakespeare on Page and Stage. Berkeley: University of California Press, 1989. ——. Making Trifles of Terrors: Redistributing Complicities in Shakespeare. Ed. and intro. Peter Erikson. Stanford: Stanford UP, 1997. Berry, Philippa. Shakespeare’s Feminine Endings: Disfiguring Death in the Tragedies. London and New York: Routledge, 1999. Best, Michael R. ‘A Precarious Balance: Structure in The Duchess of Malfi.’ Bloom, Modern Critical Interpretations 13–29. Blackmer, Corinne E. and Patricia Juliana Smith, eds. En Travesti: Women, Gender Subversion, Opera. New York: Columbia UP, 1995. Bland, D.S. ‘ “Get Thee to a Nunnery”—A Comment.’ Notes and Queries,ns12 (1965): 332. Blau, Herbert. The Audience. Baltimore and London: Johns Hopkins UP, 1990. ——. ‘Ideology, Performance, and the Illusions of Demystification.’ Reinelt and Roach 430–5. Blayney, Glenn H. ‘Enforcement of Marriage in English Drama, 1600–1650.’ Philo- logical Quarterly, 38:4 (October 1959): 459–72. Bliss, Lee. The World’s Perspective: John Webster and the Jacobean Drama. New Brunswick: Rutgers UP, 1983. Bloom, Harold, ed. Modern Critical Interpretations: John Webster’s The Duchess of Malfi. New York: Chelsea House, 1987. ——. Shakespeare: The Invention of the Human. London: Fourth Estate, 1999. Blumenthal, Eileen and Julie Taymor. Julie Taymor: Playing with Fire. New York: Harry N. Abrams, 1995. Bowers, Rick. ‘A Woman Killed with Kindness: Plausibility on a Smaller Scale.’ Studies in English Literature, 1500–1900, 24 (1984): 293–306. Bradbrook, M.C. John Webster: Citizen and Dramatist. London: Weidenfeld and Nicolson, 1980. 214 Bibliography
Bradby, G.F. The Problems of ‘Hamlet’. New York: Haskell House, 1965. Bradley, A.C. Shakespearean Tragedy. Second Edition. 1905; London: Macmillan, 1932. Brady, Jennifer. ‘Fear and Loathing in Marlowe’s Edward II.’ Sexuality and Politics in Renaissance Drama. Ed. Carole Levin and Karen Robertson. Lewiston: Mellen, 1991. 175–91. Brathwait, Richard. The English Gentlewoman. London, 1631; Amsterdam: Da Capo Press, 1970. Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism. Sixth Edition. New York and Oxford: OUP, 2004. Bray, Alan. Homosexuality in Renaissance England. London: Routledge, 1982. Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. 1964; London: Methuen, 1997. Breitenberg, Mark. Anxious Masculinity in Early Modern England. Cambridge: CUP, 1996. Brink, André. Destabilising Shakespeare. Grahamstown: Shakespeare Society of South Africa, 1996. Bromley, Laura G. ‘Domestic Conduct in A Woman Killed with Kindness.’ Studies in English Literature, 1500–1900, 26 (1986): 259–77. Bronfen, Elisabeth. Over Her Dead Body: Death, Femininity and the Aesthetic. Manchester: Manchester UP, 1992. Brooke, Rupert. John Webster and the Elizabethan Drama. London: Sidgwick and Jackson, 1917. Brown, John Russell. ‘Shakespeare in Performance.’ Shakespearean International Yearbook, Vol. 1: Where Are We in Shakespeare Studies? Ed. W.R. Elton and John M. Mucciolo. Aldershot: Ashgate Press, 1999. 108–17. Bulman, James C. Shakespeare, Theory and Performance. London and New York: Routledge, 1996. Burns, Edward. Character: Acting and Being on the Pre-Modern Stage. Houndmills: MacMillan, 1990. Burt, Richard. ‘Getting Off the Subject: Iconoclasm, Queer Sexuality, and the Celebrity Intellectual.’ Performing Arts Journal, 27:2/3 (May/September 1995): 137–50. Butler, Judith. Bodies That Matter: On the Discursive Limits of ‘Sex’. London and New York: Routledge, 1993. ——. Gender Trouble: Feminism and the Subversion of Identity. London and New York: Routledge, 1990. ——. ‘Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.’ Case, Performing 270–82. ——. The Psychic Life of Power: Theories in Subjection. Stanford: Stanford UP, 1997. Buzacott, Martin. The Death of the Actor: Shakespeare on Page and Stage. London and New York: Routledge, 1991. Bynum, Caroline Walker. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Women. Berkeley: University of California Press, 1987. Callaghan, Dympna. Shakespeare without Women: Representing Gender and Race on the Renaissance Stage. London and New York: Routledge, 2000. ——. ‘The Terms of Gender: ‘Gay’ and ‘Feminist’ Edward II.’ Feminist Readings of Early Modern Culture: Emerging Subjects. Ed. Valerie Traub, Lindsay M. Kaplan and Dympna Callaghan. Cambridge: CUP, 1996. 275–301. Bibliography 215
——. Women and Gender in Renaissance Tragedy. London and New York: Harvester Wheatsheaf, 1989. Callaghan, Dympna, Lorraine Helms and Jyotsna Singh. The Weyward Sisters: Shakespeare and Feminist Politics. Oxford: Blackwell, 1994. Cartelli, Thomas. ‘Queer Edward II: Post-modern Sexualities and the Early Modern Subject.’ P.W. White 213–23. Case, Sue-Ellen. Feminism and Theatre. Basingstoke: Macmillan, 1988. ——, ed. Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: Johns Hopkins UP, 1990. Chambers, Colin. Other Spaces: New Theatre and the RSC. London: Methuen, 1980. Charnes, Linda. ‘Styles That Matter: On the Discursive Limits of Ideology Critique.’ Shakespeare Studies, 24 (1996): 118–47. Chedgzoy, Kate. Shakespeare’s Queer Children: Sexual Politics and Contemporary Culture. Manchester: Manchester UP, 1995. Cleaver, Robert. A Godly Form of Household Management. London, 1603. Cleto, Fabio. Camp: Queer Aesthetics and the Performing Subject: A Reader. Edinburgh: Edinburgh UP, 1999. Cocke, J. ‘A Common Player.’ Satyrical Essayes, Characters and Others. London, 1615. Collins, Wilkie. The Woman in White. Ed. and intro. Julian Symons. Harmonds- worth: Penguin, 1985. Comensoli, Viviana. ‘Household Business’: Domestic Plays of Early Modern England. Toronto, Buffalo and London: University of Toronto Press, 1996. Comensoli, Viviana and Anne Russell, eds. Enacting Gender on the English Renais- sance Stage. Urbana and Chicago: University of Illinois Press, 1999. Coursen, H.R. Reading Shakespeare on Stage. Newark: University of Delaware Press, 1995. ——. Shakespearean Performance as Interpretation. Newark: University of Delaware Press, 1992. ——. Shakespeare in Performance: Whose History? Athens: Ohio UP, 1996. Crouch, Kristin. ‘ “The Silent Griefs Which Cut the Heart Strings”: John Ford’s The Broken Heart in Performance.’ Esche 261–74. Cutler, Anna. ‘Abstract Body Language: Documenting Women’s Bodies in Theatre.’ New Theatre Quarterly 54 (May 1998): 111–18. Daileader, Celia R. Eroticism on the Renaissance Stage: Transcendence, Desire, and the Limits of the Visible. Cambridge: CUP, 1998. Danson, Lawrence. ‘Continuity and Character in Shakespeare and Marlowe.’ Studies in English Literature, 1500–1900, 24 (1984): 217–34. Dash, Irene G. Women’s Worlds in Shakespeare’s Plays. Newark: University of Delaware Press, 1997. ——. Wooing, Wedding, and Power: Women in Shakespeare’s Plays. New York: Columbia UP, 1981. Davril, R. ‘Shakespeare and Ford.’ Shakespeare Jahrbuch, 94 (1958): 121–31. Dawson, Anthony B. ‘Performance and Participation: Desdemona, Foucault, and the Actor’s Body.’ Bulman 29–45. ——. Shakespeare in Performance: Hamlet. Manchester: Manchester UP, 1995. ——. Watching Shakespeare: A Playgoers’ Guide. London: Macmillan, 1988. Deats, Sarah Munson. ‘Edward II: A Study in Androgyny.’ Ball State University Forum, 22:1 (1981): 30–41. 216 Bibliography
——. Sex, Gender, and Desire in the Plays of Christopher Marlowe. Newark: University of Delaware Press, 1997. Deeney, John. ‘Workshop to Mainstream: Women’s Playwriting in Contemporary British Theatre.’ Women, Theatre and Performance: New Histories, New Histori- ographies. Ed. Maggie B. Gale and Viv Gardner. Manchester: Manchester UP, 2000. 142–62. De Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington: Indiana UP, 1987. Desmet, Christy. Reading Shakespeare’s Characters: Rhetoric, Ethics, and Identity. Amherst: University of Massachusetts Press, 1992. Dessen, Alan C. Elizabethan Stage Conventions and Modern Interpreters. Cambridge: CUP, 1984. ——. ‘Modern Productions and the Elizabethan Scholar.’ Renaissance Drama,ns18 (1987): 205–23. ——. Shakespeare in Performance: Titus Andronicus. Manchester: Manchester UP, 1992. Detmer-Goebel, Emily. ‘The Need for Lavinia’s Voice: Titus Andronicus and the Telling of Rape.’ Shakespeare Studies, 29 (2001): 75–92. Devlin, Christopher. The Life of Robert Southwell: Poet and Martyr. London: Sidgwick and Jackson, 1967. Diamond, Elin. Unmaking Mimesis: Essays on Feminism and Theater. London and New York: Routledge, 1997. DiGangi, Mario. The Homoerotics of Early Modern Drama. Cambridge: CUP, 1997. Dillon, Janette. ‘Is There a Performance in this Text?’ Shakespeare Quarterly,45 (1994): 74–86. Doane, Mary Ann. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. London and New York: Routledge, 1991. Dolan, Frances. Dangerous Familiars: Representations of Domestic Crime in England, 1550–1700. Ithaca and London: Cornell UP, 1994. Dolan, Jill. The Feminist Spectator as Critic. Ann Arbor: University of Michigan Press, 1991. ——. ‘In Defense of the Discourse: Materialist Feminism, Postmodernism, Post- structuralism and Theory.’ TDR, 33:3 (Fall 1989): 58–71. ——. Presence and Desire: Essays on Gender, Sexuality, Performance. Ann Arbor: University of Michigan Press, 1993. Dollimore, Jonathan. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. London and New York: Harvester Wheatsheaf, 1984. ——. ‘Subjectivity, Sexuality, and Transgression: The Jacobean Connection.’ Renaissance Drama, ns 17 (1986): 53–81. Dollimore, Jonathan and Alan Sinfield, eds. Political Shakespeare: New Essays in Cultural Materialism. Manchester: Manchester UP, 1985. Dreher, Diane Elizabeth. Domination and Defiance: Fathers and Daughters in Shakespeare. Lexington: University Press of Kentucky, 1986. Duffy, Eamon. The Stripping of the Altars: Traditional Religion in England, c.1400– c.1580. New Haven and London: Yale UP, 1992. Dusinberre, Juliet. Shakespeare and the Nature of Woman. London: Macmillan, 1975. ——. ‘Women and Boys Playing Shakespeare.’ A Feminist Companion to Shakespeare. Ed. Dympna Callaghan. Malden: Blackwell, 2000. 251–62. Bibliography 217
Dyer, William D. ‘Holding/Withholding Environments: A Psychoanalytic Approach to Ford’s The Broken Heart.’ ELR, 21 (1991): 401–24. Easthope, Anthony and Kate McGowan, eds. A Critical and Cultural Theory Reader. Milton Keynes: Open University Press, 1992. Edward II. Feature Film. Dir. Derek Jarman. Perf. Tilda Swinton, Nigel Terry, Andrew Tiernan and Steven Waddington. Working Title, 1991. Edwards, Christine. The Stanislavsky Heritage. London: Peter Owen, 1965. Esche, Edward J., ed. Shakespeare and His Contemporaries in Performance. Aldershot: Ashgate, 2000. Escolme, Bridget. Talking to the Audience: Shakespeare, Performance, Self. Abingdon: Routledge, 2005. Farr, Dorothy M. John Ford and the Caroline Theatre. London: Macmillan, 1979. Felman, Shoshana. The Literary Speech Act: Don Juan with J.L. Austin, or Seduction in Two Languages. 1980. Trans. Catherine Porter. Ithaca: Cornell UP, 1983. Ferguson, Margaret W., Maureen Quilligan and Nancy J. Vickers, eds. Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe. Chicago and London: University of Chicago Press, 1986. Ferris, Lesley, ed. Crossing the Stage: Controversies on Cross-Dressing. London and New York: Routledge, 1993. Fetterly, Judith. The Resisting Reader: A Feminist Approach to American Fiction. Bloomington: University of Indiana Press, 1978. Findlay, Alison. A Feminist Perspective on Renaissance Drama. Oxford: Blackwell, 1999. Fischer-Lichte, Erika. The Show and Gaze of Theatre: A European Perspective. Iowa City: University of Iowa Press, 1997. Fitz, L.T. ‘Egyptian Queens and Male Reviewers: Sexist Attitudes in Antony and Cleopatra Criticism.’ Shakespeare Quarterly, 28 (1977): 297–316. Ford, John. The Broken Heart. Ed. T.J.B. Spencer. Manchester: Manchester UP, 1980. Forker, Charles R. ‘ “A Little More Than Kin, and Less Than Kind”: Incest, Intimacy, Narcissism, and Identity in Elizabethan and Stuart Drama.’ Medieval and Renaissance Drama in England, 4 (1989): 13–51. ——. The Skull Beneath the Skin: The Achievement of John Webster. Carbondale and Edwardsville: Southern Illinois UP, 1986. Foster, Verna Ann and Stephen Foster. ‘Structure and History in The Broken Heart: Sparta, England, and the “Truth”.’ ELR, 18 (1988): 305–28. Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. 1977; London: Penguin, 1991. ——. Madness and Civilization: A History of Insanity in the Age of Reason. 1965; New York: Vintage Books, 1988. Fox-Good, Jacquelyn A. ‘Ophelia’s Mad Songs: Music, Gender, Power.’ Subjects On the World’s Stage: Essays on British Literature of the Middle Ages and the Renaissance. Ed. David G. Allen and Robert A. White. Newark: University of Delaware Press, 1995. 217–38. Frega, Donnalee. Speaking in Hunger: Gender, Discourse and Consumption in Clarissa. Columbia: University of South Carolina Press, 1998. French, Marilyn. Shakespeare’s Division of Experience. London: Abacus, 1982. Freud, Sigmund. ‘Some Psychological Consequences of the Anatomical Distinc- tion Between the Sexes.’ Sexuality and the Psychology of Love. New York: Collier Books, 1963. 183–93. 218 Bibliography
Friedenreich, Kenneth, Roma Gill and Constance B. Kuriyama, eds. ‘A Poet and a Filthy Play-maker’: New Essays on Christopher Marlowe. New York: AMS, 1988. Frye, Northrop. Anatomy of Criticism: Four Essays. 1957; Princeton: Princeton UP, 1973. ——. Fools of Time: Studies in Shakespearean Tragedy. Toronto: University of Toronto Press, 1967. ——. Northrop Frye on Shakespeare. Ed. Robert Sandler. New Haven: Yale UP, 1986. Fumerton, Patricia. Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament. Chicago and London: University of Chicago Press, 1991. Garber, Marjorie. Vested Interests: Cross-Dressing and Cultural Anxiety. New York and London: Routledge, 1992. Gardiner, Caroline. ‘What Share of the Cake? The Employment of Women in the English Theatre (1987).’ Goodman, Routledge Reader 97–102. Garner, Shirley Nelson. ‘ “Let Her Paint an Inch Thick”: Painted Ladies in English Renaissance Drama and Society.’ Renaissance Drama, ns 20 (1989): 123–39. Garzoni, Tomaso. The Hospitall of Incurable Fooles, Erected in English, as Neer the First Italian Modell and Platforme, as the Unskillfull Hand of an Ignorant Architect Could Devise. Trans. Anon. London, 1600. Gay, Penny. As She Likes It: Shakespeare’s Unruly Women. London and New York: Routledge, 1994. Gems, Pam. Camille. Three Plays: Piaf, Camille, Loving Women. London: Penguin Books, 1985. 73–153. Genet, Jean. The Balcony. Trans. Bernard Frechtman. London: Faber and Faber, 1957. Giannechi, Gabrielle and Mary Luckhurst, eds. On Directing: Interviews with Directors. London: Faber and Faber, 1999. Gledhill, Christine, ed. Stardom: Industry of Desire. London and New York: Routledge, 1991. Goldberg, Jonathan. Sodometries: Renaissance Texts, Modern Sexualities. Stanford: Stanford UP, 1992. Goodman, Lizbeth, with Jane de Gay, ed. The Routledge Reader in Gender and Performance. London and New York: Routledge, 1998. ——. ‘Subverting Images of the Female.’ Interview with Tilda Swinton. New Theatre Quarterly, 23:6 (August 1990): 215–28. ——. Contemporary Feminist Theatres: To Each Her Own. London and New York: Routledge, 1993. ——. ‘Women’s Alternative Shakespeares and Women’s Alternatives to Shakespeare in Contemporary British Theater.’ Cross-Cultural Performances: Differences in Women’s Re-Visions of Shakespeare. Ed. Marianne Novy. Urbana and Chicago: University of Illinois Press, 1993. 206–26. Gordon, Linda. ‘What’s New in Women’s History.’ Feminist Studies/Critical Studies. Ed. Teresa de Lauretis. Bloomington: Indiana UP, 1986. Gouge, William. Of Domesticall Duties. London, 1622. Granville-Barker, Harley. More Prefaces to Shakespeare. Princeton: Princeton UP, 1974. ——. Prefaces to Shakespeare. Vol. 1. 1930; London: B.T. Batsford, 1964. Greenblatt, Stephen. Learning to Curse: Essays in Early Modern Culture. New York and London: Routledge, 1990. ——. Renaissance Self-Fashioning: From More to Shakespeare. Chicago and London: University of Chicago Press, 1980. Bibliography 219
——. Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley: University of California Press, 1988. Greenfield, Thelma N. ‘John Ford’s Tragedy: The Challenge of Engagement.’ Donald K. Anderson Jr 1–26. ——. ‘The Language of Process in Ford’s The Broken Heart.’ PMLA, 87:3 (May 1972): 397–405. Guazzo, Stefano. Civile Conversation. Trans. George Pettie. London, 1581. Gutierrez, Nancy. ‘Exorcism by Fasting in A Woman Killed with Kindness: A Paradigm of Puritan Resistance?’ Research Opportunities in Renaissance Drama, 33 (1994): 43–62. ——. ‘Shall She Famish Then?’: Female Food Refusal in Early Modern England. Aldershot: Ashgate, 2003. Haber, Judith. ‘ “My Body Bestow upon my Women”: The Space of the Feminine in The Duchess of Malfi.’ Renaissance Drama, ns 28 (1997): 133–59. Haec Vir: Or, The Womanish Man, Being an Answere to a Late Booke Intituled Hic Mulier, Exprest in a Briefe Dialogue Betweene Haec Vir, The Womanish Man, and Hic Mulier the Man-Woman. London, 1620. Hamana, Emi. ‘Whose Body is it, Anyway?—A Re-Reading of Ophelia.’ Hamlet and Japan. Ed. Yoshiko Ueno. New York: AMS Press, 1995. 143–54. Hamilton, Sharon. ‘The Broken Heart: Language Suited to a Divided Mind.’ Donald K. Anderson Jr 171–93. Hancock, Brecken Rose. ‘Roman or Revenger?: The Definition and Distortion of Masculine Identity in Titus Andronicus.’ Early Modern Literary Studies, 10:1 (May 2004): 7.1–25
——. A Woman Killed with Kindness. Ed. Brian Scobie. London: A & C Black, 1985. Hillman, Richard. Intertextuality and Romance in Renaissance Drama: The Staging of Nostalgia. London: Macmillan, 1992. ——. Self-Speaking in Medieval and Early Modern English Drama: Subjectivity, Discourse and the Stage. Basingstoke: Macmillan, 1997. Hodgdon, Barbara. The End Crowns All: Closure and Contradiction in Shakespeare’s History. Princeton: Princeton UP, 1991. ——. ‘He Do Cressida in Different Voices.’ ELR, 20 (1990): 254–86. ——. ‘Kiss Me Deadly; or, The Des/Demonized Spectacle.’ Othello: New Perspect- ives. Ed. Virginia Mason Vaughan and Kent Cartwright. Rutherford: Fairleigh Dickinson Press, 1991. 214–55. ——. ‘Making it New: Katie Mitchell Refashions Shakespeare’s History.’ Trans- forming Shakespeare: Contemporary Women’s Re-Visions in Literature and Perform- ance. Ed. Marianne Novy. New York: St. Martin’s Press, 1999. ——. The Shakespeare Trade: Performances and Appropriations. Philadelphia: Univer- sity of Pennsylvania Press, 1998. Holdsworth, R.V. ‘ “Nunnery” in Hamlet and Middleton.’ Notes and Queries,ns40 (1993): 192–93. Holland, Peter. English Shakespeares: Shakespeare on the English Stage in the 1990s. Cambridge: CUP, 1997. ——. ‘OPHELIA My Lord!’ Unpublished Paper Delivered at the Second Stratford- Budapest Doctoral Conference, 12 November, 1998. ——. ‘Seeing Better.’ Inaugural Lecture Delivered on 26 October 1999 in the University of Birmingham. Birmingham: University of Birmingham School of Humanities, 1999. Holmes, Jonathan. Merely Players?: Actors’ Accounts of Performing Shakespeare. London and New York: Routledge, 2004. Hopkins, Anthony. ‘Scene-Specific Commentary on Titus.’ Titus. Dir. Julie Taymor. Fox Searchlight, 2000. DVD. 2 Discs. Twentieth-Century Fox, 2000. Disc 1. Hopkins, Lisa. The Female Hero in English Renaissance Tragedy. Houndmills: Palgrave Macmillan, 2002. ——. John Ford’s Political Theatre. Manchester: Manchester UP, 1994. Howard, Jean E. The Stage and Social Struggle in Early Modern England. London: Routledge, 1994. Huebert, Ronald. John Ford: Baroque English Dramatist. Montreal/London: McGill-Queen’s UP, 1977. ——. ‘A Woman Killed with Kindness?: Or How to Get Your Own Way and be a Nice Guy Too.’ Unpublished Paper Delivered at ACCUTE Convention, Charlottetown, Prince Edward Island, Canada, May 1992. Huffer, Lynne. Maternal Pasts, Feminist Futures: Nostalgia, Ethics, and the Question of Difference. Stanford: Stanford UP, 1998. Hull, Suzanne W. Chaste, Silent, and Obedient: English Books for Women, 1475– 1640. San Marino: Huntington Library, 1982. Ibsen, Henrik. The Lady From the Sea (Fruen Fra Havet). Trans. James Walter McFarlane. The Oxford Ibsen. Vol. 7. London: OUP, 1966. Irigaray, Luce. This Sex Which is Not One. Ithaca: Cornell UP, 1985. Jacobi, Derek. ‘Macbeth.’ Players of Shakespeare 4: Further Essays in Shakespearian Performance by Players with the Royal Shakespeare Company. Ed. Robert Smallwood. Cambridge: CUP, 1998. 193–210. Bibliography 221
Jameson, Frederic. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca: Cornell UP, 1981. Jankowski, Theodora A. Women in Power in the Early Modern Drama. Urbana and Chicago: University of Illinois Press, 1992. Jardine, Lisa. Still Harping on Daughters: Women and Drama in the Age of Shakespeare. Sussex: Harvester Press, 1983. Jarman, Derek. Modern Nature: The Journals of Derek Jarman. London: Century, 1991. ——. Queer Edward II. London: BFI, 1992. ——, dir. War Requiem (Motion Picture). Perf. Nathaniel Parker, Tilda Swinton and Owen Teale. BBC, 1989. ‘John Ford and His Tragedies: The Drama of Silent Suffering.’ TLS, 9 November 1935. Jones, Ernest. Hamlet and Oepidus. London: Gollancz, 1949. Jones, Winifred Maria. ‘Shakespeare’s Dialogic Stage: Towards a Poetics of Performance.’ PhD Thesis. The Shakespeare Institute, University of Birmingham, March 1999. Kahn, Coppelia. Man’s Estate: Masculine Identity in Shakespeare. Berkeley: University of California Press, 1981. ——. Roman Shakespeare: Warriors, Wounds and Women. London and New York: Routledge, 1997. Kathman, David. ‘How Old Were Shakespeare’s Boy Actors?’ Shakespeare Survey, 58 (2005): 220–46. Kaufmann, R.J. ‘Ford’s “Waste Land”: The Broken Heart.’ Renaissance Drama,ns3 (1970): 167–87. Keeble, N.H. The Cultural Identity of Seventeenth-Century Woman. London and New York: Routledge, 1994. Kehler, Dorothea. ‘ “That Ravenous Tiger Tamora”: Titus Andronicus’s Lusty Widow, Wife, and Mother.’ Kolin 317–32. Kehler, Dorothea and Susan Baker, eds. In Another Country: Feminist Perspectives on Renaissance Drama. Metuchen and London: Scarecrow Press, 1991. Kerrigan, William. Hamlet’s Perfection. Baltimore: Johns Hopkins UP, 1994. Kidnie, Margaret Jane. ‘Introduction.’ The Anatomie of Abuses. By Philip Stubbes. Ed. Margaret Jane Kidnie. Tempe: Arizona Center for Medieval and Renaissance Text Studies, 2002. King, Barry. ‘Articulating Stardom.’ Gledhill 167–82. Klein, Jane Larsen, ed. Daughters, Wives, and Widows: Writings by Men about Women and Marriage in England, 1500–1640. Urbana and Chicago: University of Illinois Press, 1992. Kolin, Philip C., ed. Titus Andronicus: Critical Essays. New York and London: Garland, 1995. Kozintsev, Grigori, dir. Hamlet (Motion Picture). Perf. Innokenti Smoktunovsky and Anastasia Vertinskaya. Lenfilm, Soviet Union, 1964. Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art. Ed. Leon S. Roudiez. Trans. Thomas Gora, Alice Jardine and Leon S. Roudiez. New York: Columbia UP, 1980. Lacan, Jacques. ‘Desire and the Interpretation of Desire in Hamlet.’ Literature and Psychoanalysis. Ed. Shoshana Felman. Baltimore: Johns Hopkins UP, 1982. Lamb, Charles. Specimens of English Dramatic Poets. Vol. 2. Ed. William MacDonald. London: J.M. Dent and Co, 1903. 222 Bibliography
Leggatt, Alexander. Shakespeare’s Tragedies: Violation and Identity. Cambridge: CUP, 2005. Lennix, Harry. ‘Scene-Specific Commentary on Titus.’ Titus. Dir. Julie Taymor. Fox Searchlight, 2000. DVD. 2 Discs. Twentieth-Century Fox, 2000. Disc 1. Leverenz, David. ‘The Woman in Hamlet: An Interpersonal View.’ New Casebooks: Hamlet. Ed. Martin Coyle. London: Macmillan, 1992. 132–53. Levin, Harry. The Overreacher: A Study of Christopher Marlowe. London: Faber and Faber, 1954. Levin, Richard. ‘More Nuns and Nunneries and Hamlet’s Speech to Ophelia.’ Notes and Queries, ns 41 (March 1994): 41–2. Levine, Laura. Men in Women’s Clothing: Anti-Theatricality and Effeminization, 1579–1642. Cambridge: CUP, 1994. Levi-Strauss, Claude. The Elementary Structures of Kinship. Boston: Beacon Press, 1969. Liebler, Naomi Conn, ed and intro. The Female Tragic Hero in English Renaissance Drama. New York: Palgrave, 2002. Lindroth, Mary. ‘ “Some Device of Further Misery”: Taymor’s Titus Brings Shakespeare to Film Audiences with a Twist.’ Literature/Film Quarterly, 29:2 (2001): 107–15. Long, Jennie. ‘What Share of the Cake Now? The Employment of Women in the English Theatre (1994).’ Goodman, Routledge Reader 103–7. Luckyj, Christina. ‘Acting The Duchess of Malfi: An Optimist’s View.’ The Elizabethan Theatre, 13 (1994): 27–46. ——. A Winter’s Snake: Dramatic Form in the Tragedies of John Webster. Athens and London: University of Georgia Press, 1989. Lyons, Bridget Gellert. ‘The Iconography of Ophelia.’ ELH, 44 (1977): 60–74. MacCabe, Colin. ‘A Post-National European Cinema: A Consideration of Derek Jarman’s The Tempest and Edward II.’ Screening Europe: Image and Identity in Contemporary European Cinema. Ed. Duncan Petrie. London: BFI, 1992. 9–18. Machiavelli, Niccolo. The Prince: An Elizabethan Translation. Ed. Hardin Craig. Chapel Hill: University of North Carolina Press, 1944. Mackie, Lindsay. ‘Life Among the Beautiful Men.’ Interview with Tilda Swinton. Scotsman Weekend, 26 October 1991. MacSween, Morag. Anorexic Bodies: A Feminist and Sociological Perspective on Anor- exia Nervosa. London: Routledge, 1993. ‘The Making of Titus.’ Titus. Dir. Julie Taymor. Fox Searchlight, 2000. DVD. 2 Discs. Twentieth-Century Fox, 2000. Disc 2. Marlowe, Christopher. Edward II. Ed. Martin Wiggins and Robert Lindsey. London:A&CBlack, 1997. Marshall, Cynthia. ‘ “I can interpret all her martyr’d signs”: Titus Andronicus, Feminism, and the Limits of Interpretation.’ Sexuality and Politics in Renaissance Drama. Ed. Carole Levin and Karen Roberton. Lewiston: Edwin Mellon Press, 1991. 193–209. Mason, Henry. Christian Humiliation, or, A Treatise of Fasting. London, 1625. Mast, Gerald, Marshall Cohen and Leo Braudy, eds. Film Theory and Criticism. Fourth Edition. Oxford: OUP, 1992. Maus, Katharine Eisamann. Inwardness and Theatre in the English Renaissance. Chicago and London: University of Chicago Press, 1995. ——. ‘Playhouse Flesh and Blood.’ ELH, 46 (1979): 595–617. Bibliography 223
Maxwell, J.C. Rev. of Brian Morris’ Edition of The Broken Heart. Notes and Queries ns 13:7 (August 1966): 308–9. Mazer, Cary M. ‘Historicizing Alan Dessen: Scholarship, Stagecraft, and the ‘Shakespeare Revolution’.’ Bulman 149–67. ——. Rev. of Shakespeare and the Authority of Performance, by W.B. Worthen. Shakespeare Studies 27 (1999): 282–8. ——. ‘Shakespeare, the Reviewer and the Theatre Historian.’ Shakespeare Quarterly 36:5 (1985): 648–61. McAdam, Ian. ‘Edward II and the Illusion of Integrity.’ Studies in Philology 92:2 (Spring 1995): 203–29. ——. The Irony of Identity: Self and Imagination in the Drama of Christopher Marlowe. Newark: University of Delaware Press, 1999. McCabe, Richard A. Incest, Drama and Nature’s Law, 1580–1700. Cambridge: CUP, 1993. McCandless, David. Gender and Performance in Shakespeare’s Problem Comedies. Bloomington: Indiana UP, 1997. ——. ‘A Tale of Two Tituses: Julie Taymor’s Vision on Stage and Screen.’ Shakespeare Quarterly, 53:4 (2002): 487–511. McFarlane, Brian. ‘Literature-Film Connections.’ Cinema Papers, 89 (August 1992): 32–5. McKenzie, Jon. ‘Genre Trouble: (The) Butler Did It.’ Phelan and Lane 217–35. McLuskie, Kathleen. ‘The Act, the Role, and the Actor: Boy Actresses on the Elizabethan Stage.’ New Theatre Quarterly, 10 (May 1987): 120–30. ——. Dekker and Heywood: Professional Dramatists. London: St. Martin’s Press, 1994. ——. ‘Drama and Sexual Politics: The Case of Webster’s Duchess.’ Themes in Drama 7: Drama, Sex and Politics. Cambridge: CUP, 1985. 77–91. ——. ‘The Patriarchal Bard: Feminist Criticism and Shakespeare: King Lear and Measure for Measure.’ Dollimore and Sinfield 88–108. ——. Renaissance Dramatists. Hemel Hempstead: Harvester Wheatsheaf, 1989. McLuskie, Kathleen and Jennifer Uglow. Plays in Performance: The Duchess of Malfi. Bristol: Bristol Classical Press, 1989. Melrose, Susan. ‘My Body, Your Body, His-Her Body: Is/Does Somebody (Live) There?’ New Theatre Quarterly, 54 (May 1998): 119–24. Metz, Christian. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Annwyl Williams, Ben Brewster and Alfred Guzzetti. Bloomington: Indiana UP, 1982. Meyer, Moe, ed. The Politics and Poetics of Camp. London and New York: Routledge, 1994. Middleton, Thomas. Women Beware Women. Ed. William C. Carroll. London: A & C Black, 1994. Middleton, Thomas and William Rowley. The Changeling. Ed. N.W. Bawcutt. Manchester: Manchester UP, 1998. Montrose, Louis Adrian. The Purpose of Playing: Shakespeare and the Cultural Politics of the Elizabethan Theatre. Chicago: University of Chicago Press, 1996. Mulvey, Laura. ‘Visual Pleasure and Narrative Cinema.’ Mast, Cohen and Braudy 746–57. Neill, Michael. ‘Ford’s Unbroken Art: The Moral Design of The Broken Heart.’ Modern Language Review, 75:2 (April 1980): 249–68. 224 Bibliography
——. Issues of Death: Mortality and Identity in English Renaissance Tragedy. Oxford: OUP, 1997. ——, ed. John Ford: Critical Revisions. Cambridge: CUP, 1988. Newman, Karen. Fashioning Femininity and English Renaissance Drama. Chicago: University of Chicago Press, 1991. Newton, Esther. Mother Camp: Female Impersonators in America. Chicago: University of Chicago Press, 1972. Newton, Judith and Deborah Rosenfelt. ‘Toward a Materialist-Feminist Criticism.’ Feminist Criticism and Social Change: Sex, Class, and Race in Literature and Culture. Ed. Judith Newton and Deborah Rosenfelt. New York: Methuen, 1985. Nicoll, Allardyce. An Introduction to Dramatic Theory. London: Harrap and Co., 1923. Nielsen, Asta, perf. Hamlet (Motion Picture). Dir. Sven Gade and Heiziz Schall. 1921. Nightingale, Benedict. ‘Dramatic Restorers at Work.’ Interview with Declan Donnellan. The Times, 29 December 1995. Norman, Marc and Tom Stoppard. Shakespeare in Love. London: Faber and Faber, 1998. Normington, Katie. ‘Little Acts of Faith: Katie Mitchell’s “The Mysteries”.’ New Theatre Quarterly, 54 (May 1998): 99–110. Nuttall, A.D. Why Does Tragedy Give Pleasure? Oxford: Clarendon Press, 1996. Oddey, Alison, ed. Performing Women: Stand-Ups, Strumpets and Itinerants. London: Macmillan, 1999. Of the State of Matrimony. The Second Tome of Homelyes of Such Matters as Were Promised and Intituled in the Former Part of Homelyes, Set Out By The Aucthoritie of the Quenes Maiestie. Appoynted to be Reade in Churches. London, 1563. O’Hara, Diana. Courtship and Constraint: Rethinking the Making of Marriage in Tudor England. Manchester: Manchester UP, 2000. O’Pray, Michael. ‘Damning Desire.’ Interview with Derek Jarman. Sight and Sound, 11 (October 1991): 8–11. ——. Derek Jarman: Dreams of England. London: BFI, 1996. Orgel, Stephen. Impersonations: The Performance of Gender in Shakespeare’s England. Cambridge: CUP, 1996. Painter, William. The Palace of Pleasure. Vol. 3. Ed. Joseph Jacobs. London: David Nutt, 1890. Panek, Jennifer. ‘Punishing Adultery in A Woman Killed with Kindness.’ Studies in English Literature, 1500–1900, 34 (1994): 357–78. Parker, Andrew and Eve Kosofsky Sedgwick, eds. Performativity and Performance. New York and London: Routledge, 1995. Parker, Patricia. Literary Fat Ladies: Rhetoric, Gender, Property. London and New York: Methuen, 1987. Parker, Patricia and David Quint, eds. Literary Theory/Renaissance Texts. Baltimore and London: Johns Hopkins University Press, 1986. Pavis, Patrice. Dictionary of the Theatre: Terms, Concepts, and Analysis. Trans. Christine Shantz. Toronto: University of Toronto Press, 1998. ——. Theatre at the Cross-Roads of Culture. Trans. Loren Kruger. London and New York: Routledge, 1992. Pearson, Jacqueline. Tragedy and Tragicomedy in the Plays of John Webster. Manchester: Manchester UP, 1980. Bibliography 225
Pennington, Michael. Hamlet: A User’s Guide. London: Nick Hern Books, 1996. Perkins, William. Christian Oeconomy: Or, a Short Survey of the Right Manner of Erecting and Ordering a Family According to the Scriptures. Trans. Thomas Pickering. London, 1609. Phelan, Peggy. ‘Feminist Theory, Poststructuralism, and Performance.’ TDR, 32:1 (Spring 1988): 107–27. Phelan, Peggy and Jill Lane, eds. The Ends of Performance. New York and London: New York UP, 1998. Philip, Ranjini. ‘The Shattered Glass: The Story of (O)phelia.’ Hamlet Studies, 13:1–2 (Summer and Winter 1991): 73–84. Rackin, Phyllis. Shakespeare and Women. Oxford: OUP, 2005. Ray, Sid. ‘Hunks, History, and Homophobia: Masculinity Politics in Braveheart and Edward II.’ Film and History, 29:3–4 (1999): 22–31. Raymond, Gerard. ‘What Becomes a Legend?’ Interview with Tilda Swinton. Village Voice, 7 April 1992: 62. Reinelt, Janelle G. and Joseph R. Roach, eds. Critical Theory and Performance. Ann Arbor: University of Michigan Press, 1992. Riley, Denise. Am I That Name?: Feminism and the Category of ‘Women’ in History. London: Macmillan, 1988. Rivière, Joan. ‘Womanliness as Masquerade.’ 1929. Formulations of Fantasy. Ed. Victor Burgin, James Donald and Cora Kaplan. London: Methuen, 1986. 35–44. Roach, Joseph R. Cities of the Dead: Circum-Atlantic Performance. New York: Columbia UP, 1996. ——. The Player’s Passion: Studies in the Science of Acting. Newark: University of Delaware Press, 1985. Robertson, Pamela. Guilty Pleasures: Feminist Camp From Mae West to Madonna. Durham: Duke UP, 1996. Rose, Jacqueline. Sexuality in the Field of Vision. London and New York: Verso, 1986. Rose, Mary Beth. The Expense of Spirit: Love and Sexuality in English Renaissance Drama. Ithaca and London: Cornell UP, 1988. Rosenberg, Marvin. The Masks of Hamlet. Newark: University of Delaware Press, 1992. Rubin, Gayle. ‘The Traffic in Women: Notes on the “Political Economy” of Sex.’ Toward an Anthropology of Women. Ed. Rayna Reiter. New York: Monthly Review Press, 1978. Rutter, Carol. Clamorous Voices: Shakespeare’s Women Today. Ed. Faith Evans. London: The Women’s Press, 1988. ——. Enter the Body: Women and Representation on Shakespeare’s Stage. London and New York: Routledge, 2001. ——. ‘Learning Thisby’s Part—or—What’s Hecuba to Him?’ Shakespeare Bulletin, 22:3 (Fall 2004): 5–30. ——. ‘Snatched Bodies: Ophelia in the Grave.’ Shakespeare Quarterly, 49:3 (Fall 1998): 299–319. Salgado, Gamini. Eyewitnesses of Shakespeare: First Hand Accounts of Performances, 1590–1890. London: Chatto & Windus, 1975. Salkeld, Duncan. Madness and Drama in the Age of Shakespeare. Manchester: Manchester UP, 1993. Sandys, George. A Relation of a Journey Begun Anno Domini 1610. London, 1615. 226 Bibliography
Sato, Yumi. ‘The Duchess of Malfi at Stratford.’ MPhil Thesis. Shakespeare Institute, University of Birmingham, 1991. Sawicki, Jana. ‘Feminism, Foucault, and “Subjects” of Power.’ Feminist Interpreta- tions of Michel Foucault. Ed. Susan J. Hekman. University Park, PA: Pennsylvania State UP, 1996. Schleiner, Louise. ‘Voice, Ideology, and Gendered Subjects: The Case of As You Like It and Two Gentlemen of Verona.’ Shakespeare Quarterly, 50:3 (Fall 1999): 285–309. Scobie, Brian. ‘Introduction.’ A Woman Killed with Kindness. By Thomas Heywood. Ed. Brian Scobie. London:A&CBlack, 1985. Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire. New York: Columbia UP, 1985. Shakespeare, William. Hamlet. Ed. T.J.B. Spencer. Harmondsworth: Penguin Books, 1980. ——. Hamlet. First Quarto. London, 1603; Shakespeare Quarto Facsimiles. No. 7. Oxford: Clarendon Press, 1965. ——. Measure for Measure. Ed. J.M. Nosworthy. Harmondsworth: Penguin Books, 1969. ——. Romeo and Juliet. Ed. John Jowett. Complete Works. Ed. Stanley Wells and Gary Taylor with John Jowett and William Montgomery. Oxford: Clarendon Press, 1988. ——. Titus Andronicus. Ed. Jonathan Bate. Arden Shakespeare. London and New York: Routledge, 1995. Shakespeare: The Animated Tales. Hamlet. Dir. Natalia Orlova. Shakespeare Animated Films Ltd./Soyuzmultifilm/Christmas Films, 1992. Shapiro, Michael. Gender in Play on the Shakespearean Stage. Ann Arbor: University of Michigan Press, 1994. Shell, Alison. Catholicism, Controversy and the English Literary Imagination. Cambridge: CUP, 1999. Shepherd, Simon. Amazons and Warrior Women: Varieties of Feminism in Seventeenth-Century Drama. Brighton: Harvester Press, 1981. ——. Marlowe and the Politics of Elizabethan Theatre. Hemel Hempstead: Harvester Wheatsheaf, 1986. Showalter, Elaine. ‘Representing Ophelia: Women, Madness, and the Responsib- ilities of Feminist Criticism.’ Shakespeare and the Question of Theory. Ed. Patricia Parker and Geoffrey Hartman. London: Methuen, 1985. 77–94. Shubanov, Alexander. ‘Marlowe and the Internalization of Irony.’ Christopher Marlowe and English Renaissance Culture. Ed. Darryll Grantley and Peter Roberts. Aldershot: Scolar Press, 1996. 239–45. Sinfield, Alan. Faultlines: Cultural Materialism and the Politics of Dissident Reading. Oxford: Clarendon Press, 1992. ——. Literature in Protestant England, 1560–1660. London and Canberra: Croom Helm, 1983. ——. ‘Royal Shakespeare.’ Dollimore and Sinfield 158–81. Smith, Bruce R. Homosexual Desire in Shakespeare’s England: A Cultural Poetics. Chicago: University of Chicago Press, 1991. ——. Shakespeare and Masculinity. Oxford: OUP, 2000. Smith, Henry. A Preparative to Marriage. London, 1591. Smith, Molly. Breaking Boundaries: Politics and Play in the Drama of Shakespeare and His Contemporaries. Aldershot: Ashgate Press, 1998. Bibliography 227
Solomon, Alisa. Re-Dressing the Canon: Essays on Theater and Gender. London and New York: Routledge, 1997. Sontag, Susan. ‘Notes on Camp.’ Cleto 53–65. Speght, Rachel. A Mouzell For Melastomus. London, 1617. Spinrad, Phoebe S. ‘Ceremonies of Complement: The Symbolic Marriage in Ford’s The Broken Heart.’ Philological Quarterly, 65:1 (Winter 1986): 23–37. Stacey, Jackie. ‘Feminine Fascinations: Forms of Identification in Star-Audience Relations.’ Gledhill 141–63. Stallybrass, Peter. ‘Patriarchal Territories: The Body Enclosed.’ Ferguson, Quilligan and Vickers 123–42. ——. ‘Transvestitism and the ‘Body Beneath’: Speculating on the Boy Actor.’ Zimmerman 64–83. ——. ‘Worn Worlds: Clothes and Identity on the Renaissance Stage.’ Subject and Object in Renaissance Culture. Ed. Margreta de Grazia, Maureen Quilligan and Peter Stallybrass. Cambridge: CUP, 1996. 289–320. States, Bert O. Hamlet and the Concept of Character. Baltimore and London: Johns Hopkins UP, 1992. ——. ‘The Actor’s Presence: Three Phenomenal Modes.’ Zarilli 1995: 22–42. Stewart, Alan. Close Readers: Humanism and Sodomy in Early Modern England. Princeton: Princeton UP, 1997. Stilling, Roger. Love and Death in Renaissance Tragedy. Baton Rouge: Louisiana State UP, 1976. Stone, James W. ‘Androgynous “Union” and the Woman in Hamlet.’ Shakespeare Studies, 23 (1995): 71–99. Stone, Lawrence. The Family, Sex and Marriage in England, 1500–1800. London: Weidenfeld and Nicolson, 1977. Stubbes, Philip. The Anatomie of Abuses. London, 1583. ——. A Crystall Glasse, for Christian Women. London, 1591. Styan, J.L. The Shakespeare Revolution: Criticism and Performance in the Twentieth Century. Cambridge: CUP, 1977. Swetnam, Joseph. The Arraignment of Lewd, Froward, Idle and Unconstant Women. London, 1615. Taymor, Julie. ‘Director’s Commentary.’ Titus. Dir. Julie Taymor. Fox Searchlight, 2000. DVD. 2 Discs. Twentieth-Century Fox, 2000. Disc 1. ——. Titus: The Illustrated Screenplay. New York: Newmarket Press, 2000. Thompson, John O. ‘Screen Acting and the Commutation Test.’ Gledhill 183–97. Threadgold, Terry. Feminist Poetics: Poiesis, Performance, Histories. London and New York: Routledge, 1997. Thurn, David H. ‘Sovereignty, Disorder, and Fetishism in Marlowe’s Edward II.’ Renaissance Drama, ns 21 (1990): 115–41. Tilney, Edmund. The Flower of Friendship. Ed. Valerie Wayne. Ithaca: Cornell UP, 1992. Titus. Feature Film. Screenplay based on Titus Andronicus by William Shakespeare. Dir. Julie Taymor. Perf. Alan Cumming, Laura Fraser, Anthony Hopkins, Jessica Lange and Harry Lennix. Fox Searchlight, 2000. DVD. 2 Discs. Twentieth- Century Fox, 2000. Toporkov, Vasily Osipovich. Stanislavsky in Rehearsal: The Final Years. Trans. Christine Edwards. London and New York: Routledge, 1979. 228 Bibliography
Traub, Valerie. ‘The (In)Significance of Lesbian Desire in Early Modern England.’ Queering the Renaissance. Ed. Jonathan Goldberg. Durham: Duke UP, 1994. 62–83. Tromly, Fred B. Playing with Desire: Christopher Marlowe and the Art of Tantalization. Toronto: University of Toronto Press, 1998. Vega, Lope de. The Duchess of Amalfi’s Steward (El Mayordomo de la Duquesa de Amalfi). Trans. Cynthia Rodriguez-Badendyck. Ottawa: Dovehouse Editions, 1985. Vining, Edward P. The Mystery of Hamlet. London, 1888. Vives, Juan Luis. The Instruction of a Christian Woman. 1523. Trans. Richard Hyrde, London, 1541. Waith, Eugene M. ‘Struggle for Calm: The Dramatic Structure of The Broken Heart.’ English Renaissance Drama: Essays in Honour of Madeleine Doran and Mark Eccles. Ed. Standish Henning, Robert Kimbrough and Richard Knowles. Carbondale: Southern Illinois UP, 1976. 155–66. Walker, Julia M. Medusa’s Mirrors: Spenser, Shakespeare, Milton and the Metamorph- osis of the Female Self. Newark: University of Delaware Press, 1998. Wall, Wendy. The Imprint of Gender: Authorship and Publication in the English Renaissance. Ithaca: Cornell UP, 1993. Walter, Harriet. ‘Case Study: Harriet Walter on Playing the Duchess of Malfi.’ Martin White 88–100. ——. ‘The Heroine, the Harpy, and the Human Being.’ New Theatre Quarterly,34 (May 1993): 110–20. Warren, Roger. ‘The Folio Omission of the Mock Trial: Its Motives and Consequences.’ The Division of the Kingdoms: Shakespeare’s Two Versions of King Lear. Ed. Gary Taylor and Michael Warren. Oxford: Clarendon Press, 1983. 45–57. Webster, John. ‘The Character of an Excellent Actor.’ Characters. The Complete Works of John Webster. Vol. 4. Ed. F.L. Lucas. Boston: Houghton Mifflin, 1927. 42–3. ——. The Devil’s Law-Case. Ed. Elizabeth M. Brennan. London: Ernest Benn, 1975. ——. The Duchess of Malfi. Ed. John Russell Brown. London: Methuen, 1964. ——. The White Devil. Ed. Christina Luckyj. London: Ernest Benn, 1996. Weedon, Chris. Feminist Practice and Poststructuralist Theory. Oxford: Blackwell, 1987. Weil, Judith. Christopher Marlowe: Merlin’s Prophet. Cambridge: CUP, 1977. Weimann, Robert. Authority and Representation in Early Modern Discourse. Ed. David Hillman. Baltimore: Johns Hopkins UP, 1996. Werner, Sarah. Shakespeare and Feminist Performance: Ideology on Stage. London and New York: Routledge, 2001. West, Rebecca. ‘The Nature of Will.’ The Court and the Castle: A Study of the Interac- tions of Political and Religious Ideas in Imaginative Literature. London: Macmillan, 1958. 14–26. Whately, William. A Bride-Bush. London, 1617. Whigham, Frank. Seizures of the Will in Early Modern English Drama. Cambridge: CUP, 1996. White, Martin. Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance. London: Routledge, 1998. White, Paul Whitefield, ed. Marlowe, History and Sexuality: New Critical Essays on Christopher Marlowe. New York: AMS Press, 1998. Bibliography 229
White, R.S. Innocent Victims: Poetic Injustice in Shakespearean Tragedy. London: Athlone Press, 1986. ——. ‘The Tragedy of Ophelia.’ Ariel, 9:2 (April 1978): 41–53. Wiggins, Martin. ‘Introduction.’ Edward II. By Christopher Marlowe. Ed. Martin Wiggins and Robert Lindsey. London:A&CBlack, 1997. ——. Journeymen in Murder: The Assassin in English Renaissance Drama. Oxford: Clarendon Press, 1991. ——. Shakespeare and the Drama of His Time. Oxford: OUP, 2000. Wilks, John S. The Idea of Conscience in Renaissance Tragedy. London and New York: Routledge, 1990. Williams, Raymond. Modern Tragedy. London: Chatto and Windus, 1966. Willis, Deborah. ‘ “The Gnawing Vulture”: Revenge, Trauma Theory, and Titus Andronicus.’ Shakespeare Quarterly, 53:1 (Spring 2002): 21–52. Woddis, Carole. ‘What Katie Does.’ Interview with Katie Mitchell. Plays and Players, November 1991. 11–13. Woodbridge, Linda. ‘Queen of Apricots: The Duchess of Malfi, Hero of Desire.’ Liebler 161–84. ——. Women and the English Renaissance: Literature and the Nature of Womankind, 1540–1620. Urbana and Chicago: University of Illinois Press, 1984. Worthen, William B. ‘Drama, Performativity, and Performance.’ PMLA, 113:5 (October 1998): 1093–1107. ——. The Idea of the Actor: Drama and the Ethics of Performance. Princeton: Princeton UP, 1984. ——. Shakespeare and the Authority of Performance. Cambridge: CUP, 1996. ——. Shakespeare and the Force of Modern Performance. Cambridge: CUP, 2003. Wright, Louis B. Middle-Class Culture in Elizabethan England. 1935; Ithaca: Cornell UP, 1958. Wright, Nicholas. Cressida. London: Nick Hern, 2000. Wymer, Rowland. Suicide and Despair in Jacobean Drama. Brighton: Harvester Press, 1986. ——. Webster and Ford. New York: St. Martin’s Press, 1995. Zarilli, Phillip B, ed. Acting (Re)Considered: Theories and Practices. London and New York: Routledge, 1995. Zimmerman, Susan, ed. Erotic Politics: Desire on the Renaissance Stage. London and New York: Routledge, 1992. Index
Adams, Henry Hitch, 165–6 Bassett, Kate, 153, 196 adultery, 1, 32, 93, 106, 115, 120, 151, Bate, Jonathan, 95, 207 163–6, 173, 176–190 Batty, Bartholemew, The Christian Aebischer, Pascale, 16, 24, 102–4, 107 Man’s Closet, 155, 186 agency, 16, 18, 19, 29–30, 36–7, 43, Baudry, Jean-Louis, 105 56–8, 63, 65, 70, 73, 82, 92, 107, Beale, Simon Russell, 206 164, 170, 173, 178–82,197–8 Behling, Laura L., 63 Alexander, Bill, 25, 56, 59–70, 73–82, Belsey, Catherine, 34, 65–6, 74, 126, 93, 99, 198, 206 171–2 Alexander, Bruce, 60, 66–7, 82 Bennett, Susan, 22, 24, 56, 111–2, Allam, Roger, 14 131, 134 Althusser, Louis, 7–8, 120 Bernini, Gian Lorenzo, Apollo and Amussen, Susan Dwyer, 139 Daphne (sculpture), 106 Anderson, Kathleen, 118 Bertish, Suzanne, 193, 197 Animated Tales of Shakespeare, The,29 biology as fate, 3, 6 anorexia nervosa, 22, 154–5, 186–7 see also gender binarism see also self-starvation Blayney, Glenn, H., 139 Anton, George, 76–8, 80–1 Blessed, Brian, 42 Aristotle, 21 Bliss, Lee, 78 Armistead, Claire, 186–7 Bloom, Harold, 196 Armstrong, Philip, 37 Blumenthal, Eileen, 83 Ashcroft, Peggy, 68 Bologna, Antonio, 58–9 Asp, Carolyn, 92 Boswell, Laurence, 25, 193–99 audience response, 1, 2, 4, 5, 8–9, Bowen, Christopher, 196–7 11–12, 16, 19–21, 26, 32, 36, 37, Bowers, Rick, 169, 188 44, 45, 51–4, 56, 57, 73, 78, 82, Bowman, Robert, 151–2 96, 102, 104, 105–7, 153, 154, boy players, 5–13, 51–4, 133, 191 161, 164–5, 166, 167–8, 171, Boyd, Michael, 25, 136–162, 164, 175–6, 183, 185, 186, 187–90, 199 170–1, 186, 190, 198 see also politically engaged spectator Bradbrook, M.C., 55–6 Aughterson, Kate, 85 Bradley, A.C., 193 Auslander, Philip, 17 Bradby, G.F., 33 Austin, J.L., 18 Brady, Jennifer, 133 Branagh, Kenneth, 34, 45–6 balls, 175–6 Bray, Alan, 114 Bamber, Linda, 33 Brecht, Bertolt, 129 Bamford, Karen, 101–3 Britton, Tony, 136 Barber, Frances, 25, 30–38, 41–7, Brockbank, Doreen, 207 49–54, 154, 170, 195 Brocklebank, Daniel, 5, 191–2 Barber, John, 43 Broken Heart, The, see Ford, John Bartels, Emily C., 114 Bromley, Laura, 176, 185 Barton, Anne, 146, 148, 154 Bronfen, Elisabeth, 156, 183, 187
230 Index 231
Brooks, Louise, 103 costume, 3, 11, 30–1, 33–4, 38, 41–2, Brown, Georgina, 194 50, 52–4, 60, 63, 64, 71–72, 76, Burbage, Richard, 57 84, 87, 88, 90, 93, 101, 103, 104, Butler, Judith, 6, 17–20, 26, 47–8, 103, 111, 116, 117, 120, 121–3, 124–5, 106, 120, 122, 130–2, 141–3, 174, 127, 134, 136, 144, 145–6, 147, 191–2, 200 153, 159, 163, 167, 172, 177, Buzzacott, Martin, 4 193–200 Bynum, Caroline Walker, 155 see also modern dress Coursen, H.R., 72 Cabaret, M.C. in, 76, 88 Crawford, Joan, 128–9 Callaghan, Dympna, 10, 12, 21, Crouch, Kristin, 137 115, 118 Cullen, Jonathan, 163, 171, 172, 174, camp, 89, 126, 128–9 180, 189 Caravaggio, Virgin of Loreto (painting), cultural drag, 192–200 76 Cumming, Alan, 88–91, 126 Carroll, Lewis, Alice’s Adventures in curtsey, 35, 52, 170, 173 Wonderland,87 Cusack, Sinead, 14, 44 Cartelli, Thomas, 116, 123, 134 Cutler, Anna, 160 Case, Sue-Ellen, 2, 10 Cymbeline, see Shakespeare, W. Chaplin, Charlie, 71 Charnes, Linda, 131 dance, 143–4, 148, 156, 157– 9 chastity, 3, 36, 58–9, 113, 141, 158, Daniels, Ron, 35, 30–54, 57, 69, 81, 172, 180, 197 93, 113, 170, 193, 198 Chedgzoy, Kate, 112–3, 116 Danson, Lawrence, 118 Cheek by Jowl, 14, 25, 56, 60, 69 Dante Alighieri, 76 Christianity, 75–6, 78, 104, 166, d’Aragon, Giovanna, Duchess of 168, 195 Amalfi, 58–9 Clapp, Susannah, 193 daughters, 22, 34–5, 95, 101–8 Clark, Avril, 71 Davies, Howard, 44 class, 6, 15, 22, 24, 57, 67–70, 72–3, Davis, Bette, 60–1 75, 78, 82, 114, 121, 123–4, 132, Davril, R., 153 143, 150, 151, 163–4, 165, 167, Dawson, Anthony B, 12, 16, 32 169, 174 death, 1–2, 16, 22, 24, 66, 69, 73–80, Cleaver, Robert, A Godly Form of 82, 101, 105, 125, 132, 136– 8, Household, 10 152, 157–162, 163, 165, 183–7, Cleto, Fabio, 126 196 Collins, Kevin, 127 Deats, Sarah Munson, 115, 120, Collins, Wilkie, The Woman in 123–4, 130 White, 121 de Jongh, Nicholas, 61, 154, 195, 197 Comensoli, Viviana, 166, 182–4, de Lauretis, Teresa, 191 186, 188 Denford, Antonia , 172–3 compulsory heterosexuality, 2, 3, 6, 7, desire, 12, 24, 33, 37, 45, 59, 68–9, 8, 112, 122, 192 114, 116, 130, 140, 142, 143, conduct manuals, 10–12, 22, 62, 174–5 65, 80–1, 114, 139, 146, 155, Dessen, Alan C., 102 169–70, 182 Detmer-Goebel, Emily, 86 Corman, Roger, The Tomb of Ligeia, Devlin, Es, 193, 196 121 Diamond, Elin, 20 Coryate, Thomas, 9 DiGangi, Mario, 114 232 Index direct address, 16, 94–5, 98, 189–90 Forker, Charles, 55–6 Dixon, Russell, 60 Foss, Roger, 154 Doane, Mary Ann, 103–4, 128 Foucault, Michel, 7, 67, 173 Dodds, Megan, 193–8 Fox-Davies, Jacqueline, 42–3 Dolan, Jill, 2, 4, 45 Frain, James, 88 Donnellan, Declan, 14, 25, 56–7, Franklin, Aretha, 6–7 60–2, 67–82, 93, 198, 206 Fraser, Laura, 84–5, 95, 101, 103–8, drag, 18, 88, 191–200 123, 128 Dreher, Diane, 33 Franks, Philip, 206 dress, 3, 6, 47, 78, 88–9, 92, 121–3, Frega, Donnalee, 156 156, 169 Freud, Sigmund, 96, 193 see also costume; drag Fumerton, Patricia, 174 Duchess of Malfi, The, see Webster, John Duffy, Eamon, 155 Galen, 12 Dumas, Alexander, fils, Camille,44 Garbo, Greta, 60 Garner, Shirley, 37 Edward II, see Jarman, Derek; Marlowe, Gay, Penny, 13 Christopher gaze, see male gaze Edward VIII, 61 Gems, Pam, 44 Edwardes, Jane, 56, 78 gender, 1, 2–3, 4, 13, 17–20, 22, 65, Edwards, Sally, 64 78, 107, 113, 121, 123–4, 132, Escolme, Bridget, 16, 21, 189, 206 133, 137, 152, 163–5, 166, 191, 198 Farr, Dorothy M., 150 gender binarism, 2–3, 6, 7, 8, 9, 11, Farrell, Nicholas, 43 15, 18, 20, 24, 25, 41, 46, 47, fascism, 61, 88–9, 111 49, 51–4, 55, 57, 70, 72, 73, 82, fasting, see anorexia; self-starvation 84, 85, 113, 107, 112, 125, 162, feminism, 2, 4–5, 5–6, 15, 17, 22, 25, 191–2, 198, 199–200 30–1, 49, 105–6, 116, 128–9, 130, gender essentialism, 3, 6, 17, 47, 62, 160, 170, 173, 199 75, 81, 128–9, 134 Feore, Colm, 104 gesture, 18, 23, 32–3, 34, 35, 36, 37–8, Fetterly, Judith, 32 39, 43, 49–50, 52–3, 54, 60, 61, Fielding, Emma, 136, 137, 144–62, 63, 66, 67, 69, 71, 74, 83–4, 87, 186–7 89, 91, 92, 94, 101, 106–7, 116, Fiennes, Joseph, 5 117, 121, 122, 124–5, 127, 132, film vs stage, 45–6, 84, 94–5, 99–100, 133, 134, 135, 144, 148, 152, 154, 102–8, 116, 117–8, 121, 122–6, 156, 159, 172, 177–8, 181–2, 183, 127–9, 132, 133–5 185, 187, 188–9, 194, 195 Filmer, Robert, Patriarcha,85 see also curtsey Finley, Karen, 15 Giannechi, Gabrielle, 189 Fischer-Lichte, Erika, 20 Gielgud, John, 68 Fletcher, Dexter, 51–4 Glen, Iain, 136, 140–1, 148–9, 157 Flynn, Jerome, 121 Glenister, Robert, 206 Ford, John, 25, 81, 164 Goethe, J.W. von, 48 The Broken Heart, 1–2, 25, 136–62, Sorrows of Young Werther, 193 164, 165, 170–1, 174, 183, 186, Goldberg, Jonathan, 118–9 190, 198, 200, 207 Goodman, Lizbeth, 2, 44, 129 Ford, Mick, 60, 63–5, 69, 71, 82 Gosson, Stephen, 11 Index 233
Gouge, William, Of Domesticall Duties, Huebert, Ronald, 184–5 11, 182 Huffer, Lynne, 130 Graber, Jody, 134 Hughes, Arthur, 29 Granville-Barker, Harley, 10, 13 Hyde, Jonathan, 206 Gray, John, Men Are From Mars, Women Are From Venus,6 incest, 68–70 Greenwich Theatre, 206 interpellation, 8, 107, 113, 120, 124, Guazzo, Stefano, Civil Conversation, 132, 133, 199, 200 80–1 Irigaray, Luce, 29, 184 Gutierrez, Nancy, 156, 166, 185–6 Irving, Henry, 50 Gwilym, Mike, 206 Jackson, Glenda, 31 Haber, Judith, 65 Jackson, Henry, 52, 105–6 Haec Vir , 47, 92 Jackson, Russell, 30 Hall, Peter, 31 Jacobi, Derek, 80 Hamilton, Sharon, 145, 149–50 Jankowski, Theodora, 58 Hancock, Brecken Rose, 100 Jardine, Lisa, 10, 46, 53, 58 Handy, Scott, 67–70, 82 Jarman, Derek, Edward II (film), 25, Helms, Lorraine, 37 111–35, 137, 167, 198, 207; War Henderson, Andrea, 73 Requiem (film), 117, 135 Henderson, Diane E., 166, 181, See also Marlowe, Edward II 189–90 Jones, Emrys, 63 Henderson, Katherine Usher, 47 Jones, Osheen, 87 Hepburn, Audrey, 129 Heywood, Thomas, 25, 51–2 A Woman Killed with Kindness, 1–2, Kahn, Coppelia, 86, 93 25, 163–90, 198–9, 200, 207 Kathman, David, 12 Hille, Anastasia, 60–2, 67–80, 82 Kaufmann, R.J., 137 Hilliard, Nicholas, Young Man Among Keeler, Christine, 128 Roses (miniature painting), Kehler, Dorotea, 93, 96 174 Kelly, Grace, 103, 106 Hillman, Richard, 41 Kerrigan, William, 41 Hirschorn, Clive, 154, 186–7 Kidnie, Margaret Jane, 11–12 Hitler, Adolf, 89 King Lear, see Shakespeare, W. Hodgdon, Barbara, 15–6, 22, 24 King’s Men, 57 Holden, Stephen, 84, 88, 104–5 kinship, 24, 33–5, 55–7, 59, 61, 67–70, Holdsworth, R.V., 36 74, 75, 84–91, 92–108, 119, Holland, Peter, 23–4, 45–6, 159 138–40, 150–1, 158, 163, 172, Holmes, Jonathan, 16 179–80 homosexuality, 1, 7, 11–12, 15, 18–19, Kosintsev, Grigori, 41 111–17, 123–6, 131, 133 Kott, Jan, Shakespeare Our Hopkins, Anthony, 83–4, 87–99, 102, Contemporary, 196 106–8 Kray brothers, 123 Hopkins, Lisa, 21, 56, 155 Horsfall, Bernard, 53 Lacan, Jacques, 31–2 Hoskins, Bob, 206 Lady and the Unicorn (tapestry), 195 Hospitall of Incurable Fooles, The, 39–40 Lamb, Charles, 158 Housman, A.E., 193 Lange, Jessica, 84, 88, 93–7, 105–8 Houston, William, 140, 145 Lapworth, Paul, 167 234 Index laughter, 34, 36, 60, 64, 66, 67, 71, 78, Maloney, Michael, 164, 170, 171, 175, 98, 124, 126, 140, 152, 180 181–2, 185, 187, 207 Leggatt, Alexander, 99, 102, 106, 108 Marlowe, Christopher, 7 Lemmon, Jack, 125 Edward II, 1–2, 25, 111–35, 137, Lennix, Harry, 84, 87, 97–9, 107–8 143, 164, 200, 206 le Touzel, Sylvestra, 163, 172–3, marriage, 1, 11, 22, 24, 32, 56–66, 72, 180, 183 92–3, 115, 122–4, 132, 136–62, Leverenz, David, 37, 40, 49 163–90 Levi-Strauss, Claude, 172 masculinism, 7, 8, 10, 29, 36, 38, Levine, Laura, 11–12 45–6, 53, 57, 59, 63, 65–6, 73, 75, Liebler, Naomi Conn, 21 84, 107, 112–4, 117, 119–20, 122, Lindroth, Mary, 104 123, 130, 137, 141, 143, 152, 158, Lindsey, Robert, 207 160, 163–4, 166–70, 173, 174, Lintern, Richard, 193 179, 182–3, 187, 192, Lloyd-Webber, Andrew, Evita, 111–2, 196, 197 126, 127 Maxwell, J.C., 152 Lord Admiral’s Men, 5 Mazer, Cary M., 23 Lorde, Audre, 131 Measure for Measure, see Lowin, John, 57 Shakespeare, W. Luckhurst, Mary, 189 Luckyj, Christina, 79 Melrose, Susan, 160 Lynch, Barry, 164, 175 Mendes, Sam, 88 Lynch, John, 123 Messier, Max, 88 Metz, Christian, 105 McAdam, Ian, 131 Middlemass, Frank, 34–6 Macaulay, Alastair, 68, 77, 194 Middleton, Thomas, 57 Macbeth, see Shakespeare, W. Millais, John Everett, 29 MacCabe, Colin, 111, 116, 121, 131 Miller, Arthur, Death of a McCabe, Richard, 68 Salesman,21 McCandless, David, 16, 17, 84, 92, 96, Miller, Jonathan, 43 102, 103, 104, 106 Mirren, Helen, 41, 206 McEwan, Geraldine, 97 misogyny, 10–11, 37, 59, 65, 67, 68, McFarlane, Brian, 116 78, 93, 111–3, 116–7, 121–2, Macfadyen, Matthew, 61, 71–3, 82 127–9, 131, 141, 143, 147, 149, Machiavelli, Niccolo, 118, 121–2 158–9, 195 McKellen, Ian, 206 Mitchell, Katie, 25, 163–90, 198–9, McKenna, Virginia, 42 207 Mackie, Lindsay, 129 modern dress, 61, 71–2, 76, 88, 90, 91, McLuskie, Kathleen, 12, 52, 68, 73, 103, 111–2, 121, 122–6, 129, 167, 165, 166, 182, 184 193, 196–7 McManus, Barbara F., 47 Monroe, Marilyn, in Seven Year Itch, MacSween, Morag, 155 103, 106 madness, 1–2, 22, 24, 29–30, 31, 35–6, 39–44, 45–6, 75, 79, 91, 106, Moore, Oscar, 116 152–7, 196 Morris, Wesley, 84, 89 make–up, 76, 88, 90, 93, 111, 122, motherhood, 22, 32, 59, 62, 92, 93, 125, 134, 172, 191 96–7, 120, 132, 141 male gaze, 1, 2, 24, 36, 37, 40, 60, 72, Mulvey, Laura, 103, 174 103, 105, 136, 153, 174–8, 190 Munday, Antony, 11 Index 235 murder, 1, 55–6, 58, 68, 73, 82, 86, 81, 82, 101, 102, 113, 116, 88, 90, 94–5, 97, 101, 121, 127–8, 122–3, 127, 129, 130, 131, 157, 163 135, 154, 161, 173, 183, 193, 199 Murray, David, 160 primogeniture, 7, 84–6, 89 Murray, Sean, 168, 177–8, 185–6 props, 38, 43, 54, 64, 75, 87, 97, 98, Mussolini, Benito, 89 103–4, 129, 132, 188–9, 194 Prowse, Philip, 206 naturalistic performance, 13–17, 19, Pyke, Elaine, 140–1 20–1, 25, 72–3, 75–6, 78, 83–4, 93, 99, 107, 108, 112, 165, 167–8, Queer Edward II, 207 188–9, 190, 193–8, 206 see also Jarman, Edward II Nechak, Paula, 89 Newman, Karen, 173 Rackin, Phyllis, 9, 10–11 Nicoll, Allardyce, 21 rape, 1, 86, 91, 95, 101–3, 105, 107, Nightingale, Benedict, 61, 67–8, 147–9, 182 137–8, 167, 186, 193–4 realism, see naturalistic performance Noble, Adrian, 44, 206 Rees, Roger, 25, 30, 37–8, 49–54 Normington, Katie, 187 Reeves, Saskia, 164, 170, 171, 173, 175, 177–8, 181–2, 185–7, 189 Of the State of Matrimony, 32 Rhys, Matthew, 91 O’Pray, Michael, 116, 117, 126, Rhys, Paul, 193–8 129, 132 Rhys-Meyers, Jonathan, 91 Osborne, Charles, 63, 78 Rivière, Joan, 94, 128, 130 Othello, see Shakespeare, William Roach, Joseph, 17 Overbury, Thomas, Characters,81 Robertson, Pamela, 126, 128 Ovid, 101 Roman Catholicism, 155, 167, 186, 195 Pabst, G.W. Pandora’s Box, 103 Romeo and Juliet, see Shakespeare, W. Painter, William, The Palace of Rose, Mary Beth, 66, 74–5, 182 Pleasure, 58–9 Rosenberg, Marvin, 31, 33–4 Paltrow, Gwyneth, 5, 191 Rowley, William, 57 Panek, Jennifer, 166, 185 Royal Academy of Dramatic Art patriarchy, 4, 7, 18, 34, 83–108, 112, (RADA), 83 166, 169, 182, 185, 195 Royal Exchange, Manchester, 206 Pavis, Patrice, 198–9, 206 Royal National Theatre, 206 Pearson, Jacqueline, 78 Royal Shakespeare Company (RSC), 3, Pelka, Valentine, 163, 180 14–15, 25, 30, 31, 41, 56, 62, 136, performativity, 4, 17–21, 24, 25, 163, 164, 189 72, 73, 85, 112–3, 124, 130, RSC Women’s Project, 44 132–4, 137 Rubin, Gayle, 49 vs performance, 19 Rutter, Carol, 12–13, 14, 16, 24, 44, 46 Perkins, William, Christian Oeconomy, 169–70 St. George, Andrew, 167–8 Peter, John, 68, 72, 193 Salgado, Galmini, 52, 105 Petrarch, 101 Salkeld, Duncan, 41 Philip, Ranjini, 35 Sandys, George, 9 politically engaged spectator, 2, Sansom, Ian, 60–1, 71 4–5, 9, 10, 13, 15, 16, 20, 24, Sato, Yumi, 62, 63 25, 43, 49, 50, 53, 72, 76, 78, Sawicki, Jana, 7, 67, 187 236 Index
Schafer, Elizabeth, 67, 147, 156, 161 Stanislavski, Konstantin, 13–18, 25, Scobie, Brian, 207 31, 44–5, 75, 80, 93, 95, 98, 112, seduction, 1, 3, 175–8, 199–200 167, 189, 195 self-starvation, 1, 154–6 183–7 starvation, see anorexia; self-starvation see also anorexia Stevenson, Juliet, 44, 206 sexual commodity, woman as, see stoicism, 64–5, 89–90, 137, 164 traffic in women Stoker, Bram, 46 Shakespeare, Mary (née Arden), 11 Dracula, 122 Stone, Lawrence, 139 Shakespeare William, 24, 164 Stoppard, Tom, 5 Cymbeline, 44 The Invention of Love, 193 Hamlet, 1–2, 25, 29–54, 55, 57, 69, Stubbes, Philip, 11–12, 146 81, 85, 89, 93, 113, 115, 141, Styan, J.L., 13 143, 153–4, 169, 170, 193–200, Sumpter, Donald, 196 206 Swinton, Tilda, 111–3, 116–35, 137 King Lear, 69, 193 Macbeth, 14, 44, 93 Tarantino, Quentin, 56 Measure for Measure, 3, 14, 17, Taylor, Charles, 104–5 146, 199 Taylor, Paul, 67, 75, 78, 193 Othello, 21, 52, 105–6 Taymor, Julie, 14, 25, 128 Romeo and Juliet,5,8,9,71,191 Titus (film), 14, 83–108, 121–3, 126, Titus Andronicus, 1–2, 14, 25, 167, 170, 198 83–108, 113, 120, 143, 147, See also Shakespeare, Titus 169, 200, 207 Andronicus Troilus and Cressida,44 Terry, Ellen, 50 Twelfth Night, 13, 71 Terry, Nigel, 76–8, 80–1, 122, 128 Shakespeare in Love (John Madden), Thatcher, Margaret, 129 5–9, 191–3 Threadgold, Terry, 6–7 Shell, Alison, 155 Thurn, David H., 131 Shelley, Percy Bysshe, 193 Tiernan, Andrew, 122–7 Showalter, Elaine, 31 Tilney, Edmund, The Flower of Shrimpton, Nicholas, 30, 43, 49 Friendship, 10, 114 Sicily, women performers in, 9 Tinker, Jack, 136 Titus Andronicus see Simpson, Wallis, 61 , Shakespeare, W. Toporkov, Vasily Osipovich, 44–5 Sinfield, Alan, 166 traffic in women, 24, 34, 40, 44, 86, Smith, Bruce R., 12, 91, 114 129, 139, 148, 163–90 Smith, Molly, 68 tragic hero, 21, 22, 56–7, 61–2, 65, 67, Smith, Peter J., 71–2 70, 75, 79, 80, 82 Soans, Robin, 195 Troilus and Cressida, see Solomon, Alisa, 4, 174 Shakespeare, W. songs, 40–4, 143, 153, 160–1, 168, Twelfth Night, see Shakespeare, W. 187, 188 Tyson, Cathy, 42 Sontag, Susan, 126 Sophocles, Oedipus Rex,21 Uglow, Jennifer, 68, 73 Souleymane, Bah, 97 Spencer, T.J.B., 142, 206, 207 Venice, women performers in, 9 Split Britches, 15 Vertinskaya, Anastasia, 41 Stallybrass, Peter, 12, 78–9, 169 Vining, Edward P., 49 Index 237 virginity, 1, 29, 34, 37, 86, 103, Whigham, Frank, 55–6, 68 138–9, 142, 148 White, R.S., 196 virgin-whore dichotomy, 36–7, 41, widowhood, 1, 32, 58, 60 141, 148, 168, 180 Wiggins, Martin, 80, 118–9, 207 Vives, Juan Luis, The Instruction of a Wilder, Billy, Some Like It Hot, 125 Christian Woman, 155 Williams, Olivia, 144–5, 157–9 Vogue, 195 Williams, Raymond, 21, 67 Voss, Philip, 147 Willis, Deborah, 92, 95 Wilson, Ian, 128 Waddington, Steven, 111, 116–17 Winslet, Kate, 45–6 Waith, Eugene M., 151 Woman Killed with Kindness, A, see Walker, Greg, 144, 151 Heywood Walter, Harriet, 44, 59–67, 69, 73–6, Woodbridge, Linda, 56, 65 78–82 Woodward, Sarah, 42 Wardle, Irving, 167 Worthen, W.B., 15–17, 19, 46, 47, 73, Warren, Roger, 33–4, 42 107, 131–2 Webster, John, 24, 164 Wright, Louis B., 165 The Duchess of Malfi, 1–2, 25, Wright, Nicholas, Cressida,10 55–82, 85, 93, 113, 115, Wu, Empress of China, 129 143, 198, 200, 206 Wymer, Rowland, 149 Weedon, Chris, 8 Weil, Judith, 118, 121 Wells, Stanley, 102 Young Vic, 25, 193, 194 Werner, Sarah, 2–4, 15, 31, 44 Whately, William, 62, 170 Zelevinsky, Vladimir, 104–5