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All four figures in this volume have been canonized as central to 'stage-centred' Shakespearean scholarship and stage practice. From William Poel's reproductions of early modern stages in the late nineteenth century to Sam Wanamaker's reconstruction of the Globe on London's South Bank, they all viewed Shakespeare's plays as being enmeshed in the social and historical dynamics of theatremaking and theatregoing. The volume considers how their attempts to recapture early modern performance conditions can be considered progressive.

Double Shakespeares examines contemporary performances of Shakespeare plays that employ the emotional realist traditions of acting that were codified by Stanislavski over a century ago. These performances recognize the inescapable doubleness of realism: that the actor may aspire to be the character but can never fully do so. This doubleness troubled the late-nineteenth-century actors and theorists who first formulated realist modes of acting; and it equally troubles theorists and theatre practitioners today. The book first looks at contemporary performances that foreground the doubleness of...

Double Shakespeares examines contemporary performances of Shakespeare plays that employ the -emotional realist- traditions of acting that were codified by Stanislavski over a century ago. These performances recognize the inescapable doubleness of realism: that the actor may aspire to be the character but can never fully do so. This doubleness troubled the late-nineteenth-century actors and theorists who first formulated realist modes of acting; and it equally troubles theorists and theatre practitioners today. The book first looks at contemporary performances that foreground the doubleness of...