Texts and Techniques



Shakespeare’s playscripts are both immediately enjoyable and endlessly demanding. Their words can occupy so much attention that a reader may not wish to look further, towards the theatrical events in which they were intended to play their part. Add to the words a voice, an actor, and space on stage, an auditorium full of people drawn from various backgrounds, and the day, time, and place for consecutive performance of the entire play and then, clearly, the changes wrought on what the words on the page might communicate will, at first, baffle enquiry. Yet here is the centre of interest for anyone wishing to know how the texts can do their proper work.


Theatrical Event Stressed Syllable White Head Silent Presence Verbal Life 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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  1. 1.
    John Kane, ‘Plotting with Peter’, Flourish, 2, 7 (Stratford-upon-Avon: Royal Shakespeare Company, 1971).Google Scholar
  2. 2.
    Sir Philip Sidney, Miscellaneous Prose, ed. Katherine Duncan Jones (Oxford: Clarendon Press, 1973), p. 82.CrossRefGoogle Scholar
  3. 3.
    Peter Brook, The Shifting Point (New York: Harper & Rowe, 1987), p. 94.Google Scholar
  4. 7.
    John Barton, Playing Shakespeare (London and New York: Methuen, 1985), p. 50; italics included.Google Scholar

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© John Russell Brown 2002

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