Add to ORKGGreg Doran, Artistic Director of the Royal Shakespeare Company, inaugurated his Shakespeare Nation project in 2014. This involves yet another staging of the complete works. This article examines his production of the two parts of Henry IV as well as The Witch of Edmonton. It also covers the production of The Two Gentlemen of Verona in the main house and three other shows in the Swan, labelled the ‘Roaring Girls’ season. The article exposes a tendency towards literalism in Doran’s own work (which it labels ‘Doranism’) and argues that this quality leads to an imaginative diminution of Shakespeare’s theatricality
Shakespeare’s Globe is a space built for plays in which ‘verse is always at the centre of the dramat...
There are hundreds of How-to-Teach-Shakespeare books flooding the market, and more tomes pile up ann...
The Everybody’s Shakespeare festival (1994), the Complete Works Festival (2006-2007) and the ...
The Royal Shakespeare Company (RSC) states that its purpose is to produce “an inspirational artistic...
This thesis is the first study into the career, to date, of the current Artistic Director of the Roy...
This article deals with the metatheatrical concerns in Gregory Doran's Hamlet (2009). This film deri...
This article explores the role of new writing within two contemporary Shakespearean institutions, th...
This article engages with one of the current critical and bibliographical concerns of Shakespeare st...
Mid January. I’m sitting on a train headed for London; opposite me, a colleague who sees almost as m...
In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Sh...
Shakespeare travels the globe more variously and unpredictably than any other dramatist. In performa...
Eubanks Winkler and Schoch reveal how – and why – the first generation to stage Shakespeare after Sh...
An essay is presented on the marketing of William Shakespeare's literary works. It offers a discussi...
What if the theatre industry that made someone like William Shakespeare possible was predicated on c...
This is a pre-copy-editing, author-produced PDF of an article accepted for publication in The year's...
Shakespeare’s Globe is a space built for plays in which ‘verse is always at the centre of the dramat...
There are hundreds of How-to-Teach-Shakespeare books flooding the market, and more tomes pile up ann...
The Everybody’s Shakespeare festival (1994), the Complete Works Festival (2006-2007) and the ...
The Royal Shakespeare Company (RSC) states that its purpose is to produce “an inspirational artistic...
This thesis is the first study into the career, to date, of the current Artistic Director of the Roy...
This article deals with the metatheatrical concerns in Gregory Doran's Hamlet (2009). This film deri...
This article explores the role of new writing within two contemporary Shakespearean institutions, th...
This article engages with one of the current critical and bibliographical concerns of Shakespeare st...
Mid January. I’m sitting on a train headed for London; opposite me, a colleague who sees almost as m...
In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Sh...
Shakespeare travels the globe more variously and unpredictably than any other dramatist. In performa...
Eubanks Winkler and Schoch reveal how – and why – the first generation to stage Shakespeare after Sh...
An essay is presented on the marketing of William Shakespeare's literary works. It offers a discussi...
What if the theatre industry that made someone like William Shakespeare possible was predicated on c...
This is a pre-copy-editing, author-produced PDF of an article accepted for publication in The year's...
Shakespeare’s Globe is a space built for plays in which ‘verse is always at the centre of the dramat...
There are hundreds of How-to-Teach-Shakespeare books flooding the market, and more tomes pile up ann...
The Everybody’s Shakespeare festival (1994), the Complete Works Festival (2006-2007) and the ...