William Shakespeare Scott McMillin A. R. Braunmuller
This is the first modernized and edited version of the 1622 text of Othello. It consists of a detailed introduction, quarto text, select collation and textual notes and is an important book for scholars in Shakespeare and Elizabethan-Jacobean drama, with wide ramifications for other Shakespeare textual studies and for students of early theatre history.
This is the first modernized and edited version of the 1622 text of Othello. It consists of a detailed introduction, quarto text, select collation and...
This is the first modernized and edited version of the 1622 text of Othello. It consists of a detailed introduction, quarto text, select collation and textual notes and is an important book for scholars in Shakespeare and Elizabethan-Jacobean drama, with wide ramifications for other Shakespeare textual studies and for students of early theatre history.
This is the first modernized and edited version of the 1622 text of Othello. It consists of a detailed introduction, quarto text, select collation and...
This is the first book devoted to the Queen's Men, one of the major acting companies of the age of Shakespeare. The authors break new ground by showing how Elizabethan theater history can be refocused by concentrating on the company that produced the plays, rather than on the authors who wrote them. They provide a full account of the company's acting style, staging methods, touring patterns and repertoire. Their conclusions will interest Elizabethan historians as well as students and scholars of early modern theater.
This is the first book devoted to the Queen's Men, one of the major acting companies of the age of Shakespeare. The authors break new ground by showin...
Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive...
Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of t...
