Notes

1. Introduction: performing Shakespeare’s culture

1. John Fletcher, The Island Princess, edition prepared for the RoyalShakespeare Company (London: Nick Hern Books, 2002), p. xiv. All refer-ences to this edition.

2. Imelda Whelehan, ‘Adaptations: the Contemporary Dilemmas’, inAdaptations: From Text to Screen, Screen to Text, ed. Deborah Cartmell andImelda Whelehan (London and New York: Routledge, 1999), pp. 3–19 (p. 3).

3. Lynda E. Boose and Richard Burt, ‘Totally Clueless? Shakespeare GoesHollywood in the 1990s’, in Shakespeare, the Movie: Popularizing the Plays onFilm, TV, and Video, ed. Lynda E. Boose and Richard Burt (London and NewYork: Routledge, 1997), pp. 8–22 (p. 11).

4. Fredric Jameson, ‘Postmodernism and Consumer Society’, in PostmodernCulture, ed. Hal Foster (London and Sydney: Pluto, 1985), pp. 111–25 (p. 125).

5. Walter Benjamin, Illuminations, ed. Hannah Arendt; trans. Harry Zorn(London: Pimlico, 1999), p. 218.

6. Theodor W. Adorno, Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann;trans. Robert Hullot-Kentor (London: The Athlone Press, 1997), p. 228.

7. William Shakespeare, Hamlet, ed. G. R. Hibbard, The Oxford Shakespeare(Oxford: Oxford University Press, 1987).

8. In his extensive work on the subject, Hugh Grady reminds us that theorigins of ‘modernity’ have also been ascribed to the late medieval periodand the Enlightenment. See Hugh Grady (ed.), Shakespeare and Modernity:Early Modern to Millennium (London and New York: Routledge, 2000), p. 2.

9. John J. Joughin, ‘Shakespeare, Modernity and the Aesthetic: Art, Truth andJudgement in The Winter’s Tale’, in Grady, Shakespeare and Modernity, pp. 61–84 (p. 63). See also Charles Whitney, ‘Ante-aesthetics: Towards aTheory of Early Modern Audience Response’, in Grady, Shakespeare andModernity, pp. 40–60 (p. 58).

10. See Pierre Bourdieu, The Field of Cultural Production: Essays on Art andLiterature, ed. Randal Johnson (Cambridge: Polity Press, 1993, in associationwith Blackwell Publishers).

11. Stephen Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare(Chicago and London: University of Chicago Press, 1980), p. 5.

12. Peter J. Smith, Social Shakespeare: Aspects of Renaissance Dramaturgy andContemporary Society (Basingstoke: Macmillan now Palgrave Macmillan,1995), writes: ‘there is still a reluctance to consider the political efficacy ofmodern Shakespearean production’ (p. 6).

13. Terry Eagleton, The Ideology of the Aesthetic (Oxford: Basil Blackwell, 1990),p. 6.

178

Notes, pp. 5–9 179

14. Richard Halpern, The Poetics of Primitive Accumulation: English RenaissanceCulture and the Genealogy of Capital (Ithaca and London: Cornell UniversityPress, 1991), p. 2.

15. See Greenblatt’s chapter, ‘At the Table of the Great: More’s Self-Fashioningand Self-Cancellation’, Renaissance Self-Fashioning.

16. Halpern, Poetics, p. 2.17. Ronaldo Munck, Marxism at 2000: Late Marxist Perspectives (Basingstoke:

Macmillan now Palgrave Macmillan, 2000), p. 139.18. Ibid., p. 151.19. J. K. Gibson-Graham, The End of Capitalism (as We Knew It): a Feminist

Critique of Political Economy (Maiden, MA, and Oxford: Blackwell, 1996), p. 264.

20. Kiernan Ryan, ‘Measure for Measure: Marxism before Marx’, in MarxistShakespeares, ed. Jean E. Howard and Scott Cutler Shershow (London andNew York: Routledge, 2001), pp. 227–44 (p. 228).

21. Francis Fukuyama, The End of History and the Last Man (London: Penguin,1992), p. xii.

22. Catherine Belsey, Shakespeare and the Loss of Eden: the Construction of FamilyValues in Early Modern Culture (Basingstoke: Macmillan now PalgraveMacmillan, 1999), p. 6.

23. Terry Eagleton, The Idea of Culture (Oxford: Blackwell Publishers, 2000), p. 83.

24. Eric Hobsbawm, ‘Old Marxist still sorting global fact from fiction’, TheTimes Higher Education Supplement (12 July 2002), pp. 18–19.

25. Alison Findlay, A Feminist Perspective on Renaissance Drama (Oxford:Blackwell Publishers, 1999).

26. Eagleton, Idea of Culture, p. 129.27. Barbara Hodgdon, The End Crowns All: Closure and Contradiction in

Shakespeare’s History (Princeton, NJ: Princeton University Press, 1991), p. 3.28. Barbara Hodgdon, ‘Looking for Mr. Shakespeare after “The Revolution”:

Robert Lepage’s Intercultural Dream Machine’, in Shakespeare, Theory, andPerformance, ed. James C. Bulman (London and New York: Routledge, 1996),pp. 68–91 (p. 69).

29. See Alan C. Dessen, Elizabethan Stage Conventions and Modern Interpreters(Cambridge: Cambridge University Press, 1984).

30. Michael Bristol and Kathleen McLuskie, with Christopher Holmes (eds),Shakespeare and Modern Theatre: the Performance of Modernity (London andNew York: Routledge, 2001), p. 2.

31. Smith, Social Shakespeare, p. 152.32. Lisa Jardine, Reading Shakespeare Historically (London and New York:

Routledge, 1996); James Shapiro, Shakespeare and the Jews (New York:Colombia University Press, 1996); and Belsey, Shakespeare and the Loss ofEden.

33. Bulman, Shakespeare, Theory, and Performance, p. 4. 34. W. B. Worthen, ‘ Shakespearean Performativity’, in Bristol, McLuskie and

Holmes, Shakespeare and Modern Theatre, pp. 117–41 (p. 129). See also hisexcellent study, Shakespeare and the Authority of Performance (Cambridge:Cambridge University Press, 1997).

180 Notes, pp. 10–19

35. V. N. Volos̆inov, Marxism and the Philosophy of Language, trans. LadislavMatejka and I. R. Titunik (New York and London: Seminar Press, 1973), p. 95.

36. The writings of Volos̆inov, Bakhtin and Pavel Medvedev are sometimestreated under separate authorship. See Pamela Morris (ed.), The BakhtinReader: Selected Writings of Bakhtin, Medvedev and Voloshinov (London andNew York: Edward Arnold, 1994). Sometimes the work of the three authorsis attributed to ‘Bakhtinian thought’. See Michael Holquist, Dialogism:Bakhtin and His World (London and New York: Routledge, 1990).

37. Michael D. Bristol, Big-Time Shakespeare (London and New York: Routledge,1996), esp. pp. 203–34.

38. R. W. Vince, ‘Theatre History as an Academic Discipline’, in Interpreting theTheatrical Past: Essays in the Historiography of Performance, ed. ThomasPostlewait and Bruce A. McConachie (Iowa City: University of Iowa Press,1989), pp. 1–18.

39. Vince, ‘Theatre History’, p. 15.40. Ibid., p. 15.41. Hodgdon, ‘Katherina Bound; or, Play (K)ating the Strictures of Everyday

Life’, PMLA, 107:3 (May 1992), pp. 538–53.42. Kiernan Ryan, Shakespeare, 2nd edn (London and New York: Prentice

Hall/Harvester Wheatsheaf, 1995), p. 25.43. Bristol, Big-Time Shakespeare, pp. 15 and 24.44. From Marxism and the Philosophy of Language, in Morris, Bakhtin Reader, p. 59.45. Worthen, Shakespeare and Modern Theatre, p. 133.46. Alan C. Dessen, Rescripting Shakespeare: the Text, the Director, and Modern

Productions (Cambridge: Cambridge University Press, 2002). 47. Suzanne Gossett, ‘Political Pericles’, Seventh World Shakespeare Congress

(Valencia, 18–23 April 2001).48. H. R. Coursen, Shakespeare: the Two Traditions (Madison Teaneck: Fairleigh

Dickinson University Press; and London: Associated University Presses,1999), p. 32.

49. Jean-Michel Déprats, ‘Translation at the Intersections of History’, in Bristol,McLuskie and Holmes, Shakespeare and Modern Theatre, pp. 75–92 (p. 76).

50. In Morris, Bakhtin Reader, p. 58.51. Bernard Lewis, Cultures in Conflict: Christians, Muslims and Jews in the Age of

Discovery (Oxford: Oxford University, 1995), p. 30.52. Frances Teague, Shakespeare’s Speaking Properties (Lewisburg: Bucknell

University Press; London and Toronto: Associated Universities Press, 1991),pp. 15–34.

53. Paul Alpers, What Is Pastoral? (Chicago and London: University of ChicagoPress, 1996).

54. Shakespeare, Hamlet, ed. Hibbard: see editor’s note on p. 305.55. See Robert Weimann, ‘Representation and Performance: the Uses of

Authority in Shakespeare’s Theatre’, in Materialist Shakespeare: a History, ed.Ivo Kamps (London and New York: Verso, 1995), pp. 198–217.

2. Producing consent in The Taming of the Shrew

1. William Shakespeare, The Taming of the Shrew, ed. H. J. Oliver, TheOxford Shakespeare (Oxford: Oxford University Press, 1982).

2. Ann Jennalie Cook, Making a Match: Courtship in Shakespeare and HisSociety (Princeton, NJ: Princeton University Press, 1991): ‘Kate must agreeto the betrothal for it to be valid, and her uncharacteristic silence –however obtained – marks her consent during the crucial moments ofespousal’ (p. 170).

3. Susan Bassnett, Shakespeare: the Elizabethan Plays (Basingstoke:Macmillan now Palgrave Macmillan, 1993), refers on pp. 78–9 to LouisB. Wright’s discussion of Protestant orthodoxies on domestic harmony.See Wright, Middle Class Culture in Elizabethan England (London:Methuen, 1958).

4. David Cressy, Birth, Marriage, and Death: Ritual, Religion, and the Life-Cyclein Tudor and Stuart England (Oxford: Oxford University Press, 1997), p. 476.

5. Ibid., p. 344.6. H. Edward Symonds, The Council of Trent and Anglican Formularies

(London: Oxford University Press, 1933), p. 145.7. See Cressy, Birth, p. 338.8. Revd H. J. Schroeder, Canons and Decrees of the Council of Trent: Original

Text with English Translation (St. Louis and London: B. Herder BookCompany, 1941), p. 183.

9. Ibid., p. 183.10. Art Cosgrave, ‘Consent, Consummation and Indissolubility: Some

Evidence from Medieval Ecclesiastical Courts’, Downside Review, 109(1991), pp. 94–104 (p. 94).

11. Ibid., pp. 94–5.12. Ibid., p. 94.13. Peter Meredith (ed.), The Mary Play: From the N. Town Manuscript (London

and New York: Longman, 1987), p. 60.14. Martin Ingram, ‘Spousals Litigation in the English Ecclesiastical Courts

c.1350–c.1640’, in Marriage and Society: Studies in the Social History ofMarriage, ed. R. B. Outhwaite (London: Europa Publications, 1981), pp. 35–57 (p. 46). As well as ‘spousals’, the pre-contract is also referred toas ‘espousing, affiancing, betrothing, or handfasting, “sponsion” or“sponsalia” or simply “Making themselves sure”’ (see Cook, Making aMatch, p. 154).

15. Cressy, Birth, p. 316.16. Ibid., p. 322.17. Graham Holderness and Bryan Loughrey (eds), A Pleasant Conceited

Historie, Called The Taming of A Shrew (Hemel Hampstead: HarvesterWheatsheaf, 1992), p. 53.

18. Ingram, ‘Spousals Litigation’, p. 46.19. Ibid., p. 46.20. M. Konrath (ed.), The Poems of William of Shoreham, AB.1320 Vicar of

Chart-Sutton (London: Kegan Paul, Trench, Trübner, 1902), p. 58. SueNiebrzydowski pointed this out to me.

21. George Wilkins, The Miseries of Enforced Marriage, The Malone SocietyReprints (Oxford: Oxford University Press, 1963). Jen McGowan directedme to this text.

22. Cosgrave, ‘Consent’, p. 101.23. Ibid., p. 102.

Notes, pp. 19–24 181

24. Paul Salzman (ed.), An Anthology of Elizabethan Prose Fiction (Oxford:Oxford University Press, 1987), pp. 149–50.

25. Stanley Wells, Gary Taylor, John Jowett and William Montgomery (eds),William Shakespeare: The Complete Works (Oxford: Clarendon Press,1988). Unless stated, references to Shakespeare are from this edition.

26. Henry Smith, A Preparative to Marriage: The Summe Whereof was Spoken ata Contract and Inlarged After (1591; STC 1693:5), p. 37.

27. Ibid., p. 40.28. Cressy, Birth, p. 320.29. Ralph A. Houlbrooke, The English Family 1450–1700 (London and New

York: Longman, 1984), p. 86. 30. Ingram, ‘Spousals Litigation’, p. 56.31. Houlbrooke, English Family, p. 86.32. John Strype, The Life and Acts of John Whitgift, Vol. III (Oxford:

Clarendon Press, 1822), p. 380.33. Cressy, Birth, pp. 298 and 310.34. Roderick Phillips, Untying the Knot: a Short History of Divorce (Cambridge:

Cambridge University Press, 1991), pp. 19–20.35. Houlbrooke, English Family, p. 119.36. Lawrence Stone, The Family, Sex and Marriage in England, 1500–1800

(London: Weidenfeld and Nicolson, 1977), p. 137.37. The source of the sub-plot is George Gascoigne’s Supposes (1566), trans-

lated from Ariosto’s Il Suppositi. Perhaps Kate carries out the theme of‘supposing’ or mistaking one thing for another in her final speech.

38. William Shakespeare, The Taming of the Shrew, ed. Ann Thompson, NewCambridge Shakespeare (Cambridge: Cambridge University Press, 1984),p. 22.

39. David Garrick, Catharine and Petruchio (London: 1756), a facsimile(London: Cornmarket Press, 1969), p. 14.

40. Tori Haring-Smith, From Farce to Metadrama: a Stage History of The Tamingof the Shrew, 1594–1983 (Westport, CT : Greenwood Press, 1985), p. 73.

41. Ibid., p. 73.42. In RSC performances directed by Michael Bogdanov (1978), Gale

Edwards (1995) and Lindsay Posner (1999). 43. Scott Eyman, Mary Pickford (London: Robson, 1990), p. 192. 44. R. Windeler, Sweetheart: the Story of Mary Pickford (London and New York:

W. H. Allen, 1973), p. 161.45. Hodgdon, ‘Katherina Bound’, p. 543. 46. Ibid., p. 543. 47. Manchester Guardian (4 May 1929). 48. Liverpool Daily Courier (19 July 1929). 49. Daily Mirror (10 September 1929). 50. Daily Herald (24 October 1929).51. Mary Pickford, Sunshine and Shadow, foreword by Cecil B. de Mille

(London, Melbourne and Toronto: William Heinemann, 1956), p. 311. 52. See Haring-Smith, From Farce to Metadrama, p. 62. 53. Ibid., p. 62. 54. Birmingham Despatch (11 June 1929); Stratford-upon-Avon Herald (10 May

1929).

182 Notes, pp. 24–32

55. Eyman, Mary Pickford, pp. 192–3. 56. Ibid., p. 193. 57. Eileen Whitfield, Pickford: the Woman Who Made Hollywood (Lexington,

KY: The University Press of Kentucky, 1997), p. 267.58. Pickford, Sunshine, p. 311.59. Eyman, Mary Pickford, pp. 194 and 197.60. Stratford-upon-Avon Herald (13 July 1928). 61. Daily News (15 November 1929).62. Kevin Brownlow, Mary Pickford Rediscovered: Rare Pictures of a Hollywood

Legend (New York: Harry N. Abrams in Association with The Academy ofMotion Picture Arts and Sciences, 1999), p. 222.

63. Daily Mail (13 August 1929).64. Star (24 December 1928).65. Maria Jones, ‘“His” or “Hers”?: the Whips in Sam Taylor’s The Taming of

the Shrew’, Shakespeare Bulletin, 18:3 (Summer 2000), pp. 36–7. SeeVsevolod Pudovkin’s explication of leitmotif as a category of relationalediting in, ‘From Film Technique: On Editing’ (Film Technique and FilmActing (London: Vision Press, 1929)), in Film Theory and Criticism:Introductory Readings, ed. Gerald Mast and Marshall Cohen (New Yorkand Oxford: Oxford University Press, 1985), pp. 83–9 (p. 89).

66. Teague, Shakespeare’s Speaking Properties, p. 85. 67. Garrick, Catharine and Petruchio, p. 17.68. Observer (17 November 1929). 69. Eyman, Mary Pickford, pp. 195–6.70. Stratford-upon-Avon Herald (23 August 1929).71. Brownlow, Mary Pickford, p. 235.72. Franco Zeffirelli, Zeffirelli: the Autobiography of Franco Zeffirelli (London:

George Weidenfeld and Nicolson, 1986), p. 216. 73. Graham Holderness, Shakespeare in Performance: The Taming of the Shrew

(Manchester and New York: Manchester University Press, 1989), p. 69. 74. Hodgdon, End Crowns All, p. 545. 75. Ibid., p. 545. 76. The RSC promptbook (1978) (Shakespeare Centre Library).77. Michael Foucault writes in ‘The Birth of the Asylum’ from Madness and

Civilization of the case of a girl of 17 who is subjected to ‘a regime ofstrict authority’ and ‘tamed’ after showing disorderly behaviour and bit-terness towards her parents. See The Foucault Reader, ed. Paul Rabinov(Harmondsworth: Penguin Books, 1984), p. 161.

78. RSC promptbook (1978). 79. Ibid. 80. Ibid. 81. Carol Rutter, Clamorous Voices: Shakespeare’s Women Today: Carol Rutter with

Sinead Cusack, Paola Dionisotti, Fiona Shaw, Juliet Stevenson and HarrietWalter, ed. by Faith Evans (London: The Women’s Press, 1988), p. 23.

82. Leah Marcus, ‘The Shakespearean Editor as Shrew-Tamer’, ELR, 22:2(Spring 1992), pp. 177–200 (p. 178).

83. I saw productions at The Swan, Stratford-upon-Avon, on 18 December1999, and at Wrekin College Sport Hall, Telford, on 22 February 2000.

84. Time Out (3 November 1999).

Notes, pp. 32–45 183

85. Daily Telegraph (29 October 1999). 86. See Sheridan Morley, Spectator (6 November 1999).87. The Times (29 October 1999).88. RSC promptbook, The Taming of the Shrew (1999–2000).89. Ruth Nevo, Comic Transformations in Shakespeare (London and New York:

Methuen, 1980), p. 47. 90. Chris Dunkley, Financial Times (24 October 1980).91. Robert Hewison, Sunday Times (5 April 1992).92. Irving Wardle, Independent on Sunday (5 April 1992).93. Dunkley, Financial Times (24 October 1980). 94. Tim Hallinan, ‘Interview: Jonathan Miller on Shakespeare’s Plays’,

Shakespeare Quarterly, 32:2 (1981), pp. 134–45 (p. 140). 95. John Wilders, The BBC TV Shakespeare: The Taming of the Shrew (London:

BBC, 1980), p. 11.96. Susan Willis, The BBC Shakespeare Plays: Making the Televised Canon

(Chapel Hill and London: University of North Carolina Press, 1991), p. 109.

97. E. H. Gombrich, The Story of Art (Oxford: Phaidon, 1950; 1984), p. 180.Interestingly, Miller included the Arnolfini portrait in ‘The 1998 EssoExhibition at the National Gallery’ entitled ‘Mirror Image: JonathanMiller on Reflection’ (16 September–13 December 1998) where the exhi-bition plaque beside the painting read: ‘It has been suggested that itrepresents a marriage ceremony’.

98. Stanley Wells, ‘Commentary: Television Shakespeare’, Shakespeare Quarterly,33:3 (1982), pp. 261–77 (p. 276).

99. RSC promptbook (1992).100. Robert Weimann, ‘Representation and Performance: the Uses of

Authority in Shakespeare’s Theater’, PMLA, 107 (May 1992), pp. 497–510.101. RSC Promptbook (1992). 102. Garry O’Connor, Plays and Players (May 1992), p. 47.103. Robert Smallwood, ‘Shakespeare Performed: Shakespeare at Stratford-

upon-Avon, 1992’, Shakespeare Quarterly, 44:1–4 (1993), pp. 343–62 (p. 346).

104. Ruth Garnault, Wales Actors’ Company programme: The Taming of theShrew (2002).

105. I am grateful to Paul Garnault’s replies to my questions.106. Words and music by Harry M. Woods, James Campbell and Reginald

Connelly. Originally recorded by Ruth Etting in 1933.

3. Defining the alien in The Merchant of Venice

1. ‘Destination Timbuktu’, Sahara with Michael Palin, directed by John PaulDavidson (BBC1, 20 October 2002).

2. William Shakespeare, The Merchant of Venice, ed. Jay L. Halio, The OxfordShakespeare (Oxford: Oxford University Press, 1993).

3. Ibid., p. 127. Halio notes ‘the Prince of] Capell; not in Q, F’.4. Lewis, Cultures in Conflict, p. 30.5. Ibid., p. 31.

184 Notes, pp. 45–57

6. Allan Harris Cutler and Helen Elmquist Cutler, The Jew as Ally of theMuslim: Medieval Roots of Anti-Semitism (Notre Dame, IN: University ofNotre Dame, 1986), p. 82.

7. Lewis, Cultures in Conflict, p. 33.8. Published by Continuum Books.9. Lewis, Cultures in Conflict, p. 37.

10. Brian Pullan, The Jews of Europe and the Inquisition of Venice 1550–1670(London and New York: I. B. Tauris Publishers, 1997), p. 4.

11. Lewis, Cultures in Conflict, p. 38.12. Pullan, Jews of Europe, p. 203.13. Ibid., p. 19.14. Cutler and Cutler, Jew as Ally, p. 116, cite Joshua Trachtenberg, The Devil

and the Jews: the Medieval Conception of the Jew and Its Relation to ModernAnti-Semitism, 2nd edn (Philadelphia: Jewish Publication Society, 1983),p. 185.

15. All references are to H. S. D. Mithal (ed.), An Edition of Robert Wilson’sThree Ladies of London and Three Lords and Three Ladies of London, in TheRenaissance Imagination Volume 6, ed. Stephen Orgel (New York andLondon: Garland Publishing, 1988).

16. Christopher Marlowe, The Jew of Malta, ed. N. W. Bawcutt, The RevelsPlays (Manchester: Manchester University Press, 1978).

17. Margaret Hotine, ‘The Politics of Anti-Semitism: The Jew of Malta andThe Merchant of Venice’, Notes and Queries, 38 (March 1991), pp. 35–8(p. 37).

18. Ibid., p. 37. 19. Ibid., p. 3.20. Richard H. Popkin, ‘A Jewish Merchant of Venice’, Shakespeare Quarterly,

40 (Fall 1989), pp. 329–31 (p. 330).21. Ibid., p. 330.22. Lisa Jardine, Worldly Goods: a New History of the Renaissance (London and

Basingstoke: Macmillan now Palgrave Macmillan, 1996), p. 374.23. Ibid., p. 374.24. J. H. Baker, An Introduction to English Legal History, 3rd edn (London,

Boston et al.: Butterworths, 1990), p. 530.25. Ibid., pp. 530–1.26. Shakespeare, Merchant, ed. Halio, p. 189. 27. Walter Cohen, ‘The Merchant of Venice and the Possibilities of Historical

Criticism’, ELH, 49 (1982), pp. 765–89 (p. 770).28. Ibid., p. 769.29. Ibid., pp. 768–9.30. Greenblatt, Renaissance Self-Fashioning, p. 203.31. Baker, Introduction to English Legal History, p. 531. He adds: ‘The principal

remaining disability was the incapacity of an alien to own real property.If land were conveyed to an alien, the king could seize it, while in a realaction a plea of alienage would abate the writ’ (p. 531).

32. Shapiro, Shakespeare and the Jews, pp. 181–2. Shapiro writes that in 1559 arumour circulated ‘“that there were now forty thousand strangers inLondon”, probably ten times their actual number’ (p. 182).

33. Ibid., p. 189.

Notes, pp. 58–63 185

34. Ania Loomba, ‘Shakespeare and Cultural Difference’, in AlternativeShakespeares: Volume 2, ed. Terence Hawkes (London and New York:Routledge, 1996), pp. 164–91 (p. 181).

35. Ibid., p. 181.36. Helen Hackett, Virgin Mother, Maiden Queen: Elizabeth I and the Cult of the

Virgin Mary (Basingstoke: Macmillan now Palgrave Macmillan, 1995), p. 100.

37. Jack D’Amico, The Moor in English Renaissance Drama (Tampa, FL:University of South Florida, 1991), p. 165.

38. Loomba, ‘Shakespeare and Cultural Difference’, p. 178.39. John Rudkin, Commedia dell’arte: an Actor’s Handbook (London and New

York: Routledge, 1994), p. 119.40. Ibid., p. 119.41. Shakespeare, Merchant, ed. Halio, p. 152.42. Shakespeare Memorial Theatre programme: The Merchant of Venice

(1960).43. C. B. Purdom, Everyman, 4 August 1932.44. Pauline Kiernan, ‘Fictional Worlds’, Globe: the Magazine of the

International Shakespeare Globe Centre, 8 (Winter 1998), pp. 2–5 (p. 5).45. Ibid., p. 5.46. Nicolas Robins, ‘On Fighting the Audience’, Globe, 8 (1998), pp. 22–3

(p. 23). 47. Edward Braun, The Director and the Stage: From Naturalism to Grotowski

(London: Methuen, 1982), p. 112.48. Theodore Komisarjevsky, The Costume of the Theatre (London: Geoffrey

Bles, 1931), pp. 113 and 162.49. Ibid., p. 162.50. Ibid., p. 165.51. Rudkin, Commedia dell’arte, pp. 94–5.52. Ibid., pp. 122–3.53. Week-end Review (30 July 1932).54. Birmingham Mail (7 July 1932).55. Christian World (4 August 1932). 56. Birmingham Mail (7 July 1932).57. Christian World (4 August 1932).58. Robert L. Erenstein, ‘Satire and the commedia dell’arte’, in Western

Popular Theatre: the Proceedings of a Symposium Sponsored by the ManchesterUniversity Department of Drama, ed. David Mayer and Kenneth Richards(London and New York: Methuen, 1977), pp. 29–47 (p. 30).

59. Ibid., p. 36.60. Ibid., p. 46.61. Robert C. Toll, On with the Show: the First Century of Show Business in

America (New York: Oxford University Press, 1976), pp. 81 and 86.62. Ibid., p. 84.63. Ibid., p. 84.64. Ibid., pp. 84–6.65. Virginia P. Scott, ‘The Jeu and the Role: Analysis of the Appeals of the

Italian Comedy in France in the Time of Arlequin-Dominique’ in Mayerand Richards, Western Popular Theatre, pp. 1–27 (pp. 8–9).

186 Notes, pp. 64–72

66. Toll, On with the Show, p. 87.67. Clive Davis, ‘Not as Black and White as We Think’, Sunday Times

(29 October 1995).68. Toll, On with the Show, p. 121. He writes: ‘Neither Bob Cole nor William

Marion Cook, both classically trained musicians could freely expresstheir talents. To earn livings they had to write caricatured sketches and“coon songs” that perpetuated negative images of Negroes.’ See also JohnBlair, ‘Blackface Minstrels in Cross-Cultural Perspective’, American StudiesInternational, XXVIII:2 (October 1990), pp. 52–65, and James H. Dormon,‘Shaping the Popular Image of Post-Reconstruction American Blacks: the“Coon Song” Phenomenon of the Gilded Age’, American Quarterly, 40(December 1988), pp. 450–71.

69. Davis, ‘Not as Black and White as We Think’.70. Alex Gordon, ‘J for Jewish: From The Jazz Singer to Shoah: Louis B. Mayer

to Mel Brooks’, Sight and Sound, 3 (March 1997), pp. 28–30.71. Star (13 April 1960); The Times (13 April 1960).72. David Addenbrooke, The Royal Shakespeare Company: the Peter Hall Years,

with a foreword by Peter Hall and afterword by Trevor Nunn (London:William Kimber, 1974), pp. 57–8.

73. Shakespeare Memorial Theatre Programme, The Merchant of Venice(1960).

74. Ibid.75. The Times (13 April 1960). Antoine Watteau (1684–1721) painted ‘visions

of a life divorced from all hardship and triviality, a dream-life of gaypicnics in fairy parks where it never rains, of musical parties where allladies are beautiful and all lovers graceful’. See Gombrich, Story of Art, p. 358.

76. John Russell Brown, ‘Three Directors: a Review of Recent Productions’,Shakespeare Survey, 14 (1961), pp. 129–37 (p. 136).

77. Western Daily Press (14 April 1960); Brown, ‘Three Directors’, p. 137. 78. Spectator (22 April 1960).79. Tribune (22 April 1960). 80. Sunday Times (17 April 1960).81. Western Daily Press (14 April 1960).82. Financial Times (13 April 1960).83. Stage (15 April 1960).84. Brown, ‘Three Directors’, p. 136.85. See Homi K. Bhaba, ‘The Other Question: Difference, Discrimination and

the Discourse of Colonialism’, in Literature, Politics and Theory: Papersfrom the Essex Conference 1976–84, eds Francis Barker et al. (London andNew York: Methuen, 1986), pp. 148–72 (p. 151).

86. Ibid., p. 152.87. Ania Loomba and Martin Orkin (eds), Post-Colonial Shakespeares (London

and New York: Routledge, 1998), p. 11.88. Ibid., pp. 11–12.89. Terry Grimley, Birmingham Post (7 April 1984).90. The Times (9 April 1984).91. Ian McDiarmid, ‘Shylock in The Merchant of Venice’, Players of

Shakespeare 2: Further Essays in Shakespearean Performance by Players with

Notes, pp. 72–8 187

The Royal Shakespeare Company, ed. Russell Jackson and RobertSmallwood (Cambridge: Cambridge University Press, 1988), pp. 45–54 (p. 49).

92. Ibid., p. 48.93. Howard Jacobson takes a satirical view of his ‘displaced’ urban Jewish

English teacher Sefton Goldberg in his novel Coming from Behind(London: Chatto and Windus/The Hogarth Press, 1984).

94. Independent (14 May 1988).95. RSC Theatre Programme: The Merchant of Venice (1984).96. Jardine, Worldly Goods, pp. 6–9.97. Pullan, Jews of Europe, p. 147.98. McDiarmid, ‘Shylock’, p. 48.99. Ibid., p. 51.

100. Nicholas Shrimpton, ‘Shakespeare Performances in Stratford-upon-Avon and London, 1983–4’, Shakespeare Survey, 38 (1985), pp. 201–13(p. 209).

101. McDiarmid, ‘Shylock’, p. 50.102. Financial Times (11 April 1984).103. Irving Wardle, The Times (11 April 1984).104. City Limits (16–23 April 1987).105. Sunday Mercury (3 May 1987).106. Bristol Evening Post (30 April 1987).107. Sunderland Echo (24 February 1988).108. Guardian (16 April 1987).109. Stanley Wells, ‘Shakespeare Performances in London and Stratford-upon-

Avon, 1986–7’, Shakespeare Survey, 41 (1989), pp. 158–81 (p. 162).110. Gregory Doran, ‘Solanio in The Merchant of Venice’, in Players of

Shakespeare 3: Further Essays in Shakespearian Performance by Players withthe Royal Shakespeare Company, ed. Russell Jackson and RobertSmallwood (Cambridge: Cambridge University Press, 1993), pp. 68–76(pp. 72–3).

111. Ibid., p. 73.112. Guardian (1 May 1987). 113. Daily Telegraph (1 May 1987).114. Anita Deshmukh, Birmingham Post (27 April 1987).115. The Times (28 April 1987).116. Pullan, Jews of Europe, p. 169.117. Bulman, Shakespeare in Performance, pp. 118–19.118. Ibid., p. 119.119. Guardian (1 May 1987).120. Deborah Findlay, ‘Portia in The Merchant of Venice’, in Jackson and

Smallwood, Players of Shakespeare 3, pp. 52–67 (pp. 58–9).121. Ibid., p. 63.122. Ibid., p. 63.123. Ibid., p. 66.124. City Limits (16–23 April 1987).125. Leo Salingar, ‘The Idea of Venice in Shakespeare and Jonson’, in

Shakespeare’s Italy: Functions of Italian Locations in Renaissance Drama, ed.

188 Notes, pp. 78–86

Michele Marrapodi, A. J. Hoenselaars et al. (Manchester and New York:Manchester University Press, 1993), pp. 171–84 (p. 173).

126. Ibid., p. 176.127. Cohen, p. 774.128. Ibid., pp. 776–7.129. Ibid., p. 777.130. Peter Ansorge, ‘Director in Interview’, Plays and Players (March 1970),

pp. 52–3 and 59 (p. 53).131. Ibid., p. 53. Hannah Arendt, The Origins of Totalitarianism, 3rd edn

(London: George Allen and Unwin, 1967).132. John Gross, Shylock: Four Hundred Years in the Life of a Legend (1992;

London: Vintage, 1994), p. 303.133. Ansorge, ‘Director in Interview’, p. 53.134. Donald Spoto, Laurence Olivier: a Biography (London: Harper Collins,

1991), p. 302.135. National Theatre promptbook: The Merchant of Venice (1970).136. James C. Bulman, Shakespeare in Performance: The Merchant of Venice

(Manchester and New York: Manchester University Press, 1991), p. 84.137. Anthony Bloomfield and Philip French (producers), The Arts This Week

(BBC radio transcript; PLN17/TK1104; transmission 30 April 1970). TheBritish Film Institute.

138. Herbert Kretzmer, Daily Express (29 April 1970).139. Royal Shakespeare Company Production Pack, The Merchant of Venice

(RSC Education, 1993), p. 5.140. What’s On (9 June 1993).141. Peter Holland, ‘Shakespeare Performances in England, 1992–1993’,

Shakespeare Survey, 47 (1994), pp. 181–207 (p. 197).142. RSC Production Pack, Merchant, p. 11.143. Ibid., p. 11.144. Royal Shakespeare Theatre promptbook: The Merchant of Venice, 1993. 145. Holland, ‘Shakespeare Performances’, p. 196.146. Alan C. Dessen, ‘The Image and the Script: Shakespeare on Stage in

1993’, Shakespeare Bulletin, 12:1 (Winter 1994), pp. 5–8 (p. 6).147. Ibid., p. 6.148. Claire Armitstead, ‘The Trial of Shylock’, Guardian (13 April 1994).149. RSC Production Pack, Merchant, p. 5.150. Stratford-upon-Avon Herald (11 June 1993).151. RSC Production Pack, Merchant, p. 13.152. The Times (1 June 1993).153. Guardian (5 June 1993).154. Guardian (11 April 1994).155. RSC Production Pack, Merchant, p. 5.156. Salingar, ‘Idea of Venice’, p. 176. 157. Ibid., p. 176.158. ‘Ghetto Fabulous’, RSC Magazine (Winter 2001), pp. 22–3 (p. 22).159. Ibid., p. 22. 160. Ibid., p. 22. 161. Alfred Hickling, ‘Sit Down and Shut Up’, Guardian (12 June 2002).

Notes, pp. 86–100 189

4. Ophelia’s flowers

1. The photograph by Graham Turner appeared in the ‘The Editor’, Guardian(4 May 2002), p. 5.

2. Ibid., p. 5.3. Louis Adrian Montrose, ‘“Eliza, Queene of Shepheardes”, and the Pastoral of

Power’, in The New Historicism Reader, ed. H. Aram Veeser (New York andLondon: Routledge, 1994), pp. 88–115 (pp. 90 and 98).

4. Hackett, Virgin Mother, p. 55.5. Susan Doran, Monarchy and Matrimony: the Courtships of Elizabeth I (London

and New York: Routledge, 1996), p. 9. 6. Montrose, ‘Eliza’, pp. 102–4.7. Ibid., p. 99.8. Doran, Monarchy, p. 9.9. See David Starkey, Elizabeth (London: Chatto & Windus, 2000); Hackett,

Virgin Mother; Doran, Monarchy; and Carole Levin, The Heart and Stomach ofa King: Elizabeth I and the Politics of Sex and Power (Philadelphia: Universityof Pennsylvania, 1994).

10. Marina Warner, Alone of All Her Sex: the Myth and the Cult of the Virgin Mary(London: Weidenfeld and Nicolson, 1976), p. 67.

11. Levin, Heart, p. 83.12. Ernst H. Kantorowicz, The King’s Two Bodies: a Study in Mediaeval Political

Theology (Princeton, NJ: Princeton University Press, 1957), p. 7.13. Ibid., p. 7.14. Marie Axton, The Queen’s Two Bodies: Drama and the Elizabethan Succession

(London: Royal Historical Society, 1977), pp. 18–19.15. Ibid., pp. 17–18 and 29.16. The reference to England’s Helicon is in Montrose, ‘Eliza’, p. 94. 17. Raymond Williams, The Country and the City (London: Chatto & Windus,

1973), pp. 120–1, quoted in Stephen Daniels, ‘Marxism, Culture and theDuplicity of Landscape’, in Human Geography: an Essential Anthology, ed.David N. Livingstone and Alisdair Rogers (Oxford: Blackwell Publishers,1996), pp. 329–40 (p. 330).

18. Daniels, ‘Marxism’, p. 329.19. Alpers, What Is Pastoral?, p. 182.20. Ibid., p. 22.21. Ibid., p. 23.22. Ibid., p. 24.23. Ibid., p. 81.24. William Shakespeare, The Winter’s Tale, ed. Stephen Orgel, The Oxford

Shakespeare (Oxford: Oxford University Press, 1996). On primroses, see theeditor’s note on p. 175.

25. Carroll Camden, ‘On Ophelia’s Madness’, Shakespeare Quarterly, 15 (1964),pp. 249–55. See also Kaara L. Peterson, ‘Fluid Economies: PortrayingShakespeare’s Hysterics’, Mosaic: a Journal for the Interdisciplinary Study ofLiterature, 34:1 (March 2001), pp. 35–59.

26. Ibid., p. 39.27. Ibid., p. 45.

190 Notes, pp. 103–8

28. Sir Philip Sidney, ‘The Lady of May’, in Renaissance Drama: an Anthology ofPlays and Entertainments, ed. Arthur F. Kinney (Malden, MA, and Oxford:Blackwell Publishers, 1999), pp. 35–44 (p. 37).

29. See Lisa Jardine’s discussion, Reading Shakespeare Historically, pp. 112–13.30. William Shakespeare, Hamlet, ed. Harold Jenkins, The Arden Shakespeare

(London and New York: Routledge, 1982), p. 475.31. Ibid., p. 276.32. Phil Macnaghten and John Urry, Contested Natures (London: Sage

Publications, 1998), p. 9.33. Ibid, p. 9. The reference is to Clarence J. Glacken, Traces on the Rhodian

Shore: Nature and Culture in Western Thought from Ancient Times to the End of the Eighteenth Century (Berkeley: University of California Press, 1967), pp. 176–253.

34. Eamon Duffy, The Stripping of the Altars: Traditional Religion in England1400–1580 (New Haven and London: Yale University Press, 1992), p. 218.

35. Ibid., p. 218.36. See editor’s note in Shakespeare, Hamlet, ed. Hibbard, p. 305. Of course, for

my argument I have chosen three films where Ophelia does give out‘flowers’ or substitutes objects but some might argue against such ‘rescript-ing’ despite its history in popular culture. In Kenneth Branagh’s film,Hamlet (1996), Kate Winslet’s Ophelia does not give out flowers or anyobject. The screenplay direction reads: ‘She pretends to pass out flowers.’See Kenneth Branagh, Hamlet by William Shakespeare: Screenplay, Introductionand Film Diary (London: Chatto and Windus, 1996), p. 131.

37. Sidney, ‘Lady of May’, p. 39.38. Alpers, What Is Pastoral?, p. 83.39. Ibid., pp. 84 and 92.40. Shakespeare, Hamlet, ed. Hibbard, p. 306.41. Kenneth Branagh, Much Ado about Nothing by William Shakespeare:

Screenplay, Introduction, and Notes on the Making of the Film (London: Chatto& Windus, 1993), p. 5.

42. Shakespeare, Hamlet, ed. Jenkins, p. 536.43. Shakespeare, The Winter’s Tale, ed. Stephen Orgel, The Oxford Shakespeare

(Oxford: Oxford University Press, 1996), p. 43.44. Ibid., pp. 44–5.45. Shakespeare, Hamlet, ed. Hibbard, p. 306.46. Ibid., p. 51.47. Ibid., p. 52.48. Duffy, Stripping of the Altars, p. 328.49. Edmund Spenser, Spenser: Poetical Works, ed. J. C. Smith and E. De

Selincourt (London and Oxford: Oxford University Press, 1970).50. William Shakespeare, Hamlet, ed. Philip Edwards, The New Cambridge

Shakespeare (Cambridge: Cambridge University Press, 1985), p. 201.51. Shakespeare, Hamlet, ed. Jenkins, pp. 540–1.52. Cressy, Birth, Marriage and Death, pp. 363–4. 53. For a fine discussion of Ophelia’s body in performance, see Carol

Chillington Rutter, Enter the Body: Women and Representation onShakespeare’s Stage (London and New York: Routledge, 2001).

Notes, pp. 108–15 191

54. Edmund Spenser, The Faerie Queene, ed. Thomas P. Roche, Jr., with C. Patrick O’Donnell, Jr. (London: Penguin Books, 1978), p. 983.

55. David Bordwell and Kristin Thompson, Film Art: an Introduction, 5th edn(New York and St Louis: McGraw-Hill, 1997), p. 221.

56. Anthony Davies, Filming Shakespeare’s Plays: the Adaptations of LaurenceOlivier, Orson Welles, Peter Brook and Akira Kurosawa (Cambridge: CambridgeUniversity Press, 1988), p. 49.

57. Harry Keyishian, ‘Shakespeare and Movie Genre’, in The CambridgeCompanion to Shakespeare on Film, ed. Russell Jackson (Cambridge:Cambridge University Press, 2000), pp. 72–81 (p. 75).

58. Kenneth S. Rothwell, A History of Shakespeare on Screen: a Century of Film andTelevision (Cambridge: Cambridge University Press, 1999), p. 184.

59. Gombrich, Story of Art, p. 449.60. Neil Taylor, ‘The Films of “Hamlet”’, Shakespeare and the Moving Image, ed.

Anthony Davies and Stanley Wells (Cambridge: Cambridge UniversityPress, 1994), pp. 180–95 (p. 184).

61. Eleanor Rowe, Hamlet: a Window on Russia (New York: New York UniversityPress, 1976), p. 150.

62. Taylor, ‘Films of “Hamlet”’, p. 193.63. See Yvonne Tasker, Spectacular Bodies (London and New York: Routledge),

1993), p. 15.64. Michael Church, ‘Franco Goes to Elsinore’, Independent on Sunday (14 April

1991).65. William Shakespeare’s Hamlet, adapted by Michael Almereyda (London:

Faber and Faber, 2000), p. xii.66. Ibid., p. 135. 67. Patrick Phillips, ‘Genre, Star and/Auteur – Critical Approaches to Hollywood

Cinema’, in An Introduction to Film Studies, ed. Jill Nelmes, 2nd edn (Londonand New York: Routledge, 1996), pp. 161–208 (p. 176).

68. See Dennis Harvey, Variety (31 January–6 February 2000).69. William Shakespeare’s Hamlet, p. 36.70. Bernice W. Kliman, ‘A Palimpsest for Olivier’s Hamlet’, Comparative Drama,

17 (1983), pp. 243–53 (p. 246).71. Ibid., p. 246.72. See Elaine Showalter, ‘Representing Ophelia: Women, Madness and the

Responsibilities of Feminist Criticism’, Shakespeare and the Question ofTheory, ed. Patricia Parker and Geoffrey Hartman (New York and London:Routledge, 1985), pp. 77–94, and Rutter, Enter the Body, who feel that theartist’s skills (Showalter) and the director’s ingenuity (Rutter) rather thanthe subject dominate the scene.

5. Richard’s crown

1. Stephen Bates, Guardian (3 December 2002).2. Ibid.3. The Sunday Times (15 December 2002) published the results of a survey

showing that fewer than 15 per cent of the population planned to watch theQueen’s speech at Christmas. On the same page, Jack Grimston reported that

192 Notes, pp. 116–37

Notes, pp. 137–43 193

the BBC faced the threat of legal action under the Human Rights Act forfailing to include atheists as presenters for Radio 4’s Thought for the Day.

4. All references are to William Shakespeare, King Richard II, ed. Charles R.Forker, The Arden Shakespeare (London: Thomson Learning, 2002).

5. Joseph Canning, A History of Medieval Political Thought 300–1450 (Londonand New York: Routledge, 1996), pp. 54–5.

6. Ibid., p. 55.7. Christopher Given-Wilson (ed.) Chronicles of the Revolution 1397–1400: the

Reign of Richard II (Manchester and New York: Manchester University Press,1993), p. 200.

8. Ibid., p. 201.9. Starkey, Elizabeth, p. 274.

10. Shakespeare, Richard II, ed. Stanley Wells, The New Penguin Shakespeare(London: Penguin Books), p. 10.

11. Letter from Fiona Shaw to Helen Potter, 22 August 2000. I am grateful toHelen for allowing me to use this material.

12. Starkey, Elizabeth, p. 276, and see his note on pp. 359–60.13. A. G. Dickens, The Age of Humanism and Reformation: Europe in the

Fourteenth, Fifteenth and Sixteenth Centuries (London: Prentice-HallInternational, 1977), p. 149.

14. Duffy, Stripping of the Altars, p. 448.15. Ibid., pp. 448–51.16. Ibid., p. 448.17. Ibid., pp. 524–6.18. Ibid., p. 566.19. Janette Dillon, Performance and Spectacle in Hall’s Chronicle (London: The

Society for Theatre Research, 2002), p. 7. 20. Starkey, Elizabeth, pp. 300–1.21. Weimann, ‘Representation’, in Kamps, Materialist Shakespeare, p. 208.22. Ibid., p. 208.23. Ibid., p. 208.24. Shakespeare, Richard II, ed. Forker, note 1.1, p. 179.25. Ibid., pp. 120–1.26. Andrew Gurr and Mariko Ichikawa, Staging in Shakespeare’s Theatres (Oxford:

Oxford University Press, 2000), p. 57. 27. Shakespeare, Richard II, ed. Forker, p. 217.28. Canning, Medieval Political Thought, p. 55.29. Shakespeare, Richard II, ed. Forker, p. 329.30. William Shakespeare, King Richard II, ed. Andrew Gurr, New Cambridge

Shakespeare (Cambridge: Cambridge University Press, 1984), p. 121. 31. Ibid., p. 122. 32. Kantorowicz, King’s Two Bodies, pp. 30–1.33. Michael A. R. Graves, Elizabethan Parliaments, 1559–1601 (London and New

York: Longman, 1987), p. 3.34. Ibid., p. 3.35. Graves, Elizabethan Parliaments, pp. 9–10. 36. Shakespeare, Richard II, ed. Forker, p. 372.37. Ibid., p. 393.38. Shakespeare, Richard II, ed. Gurr, p. 137.

194 Notes, pp. 143–54

39. Shakespeare, Richard II, ed. Forker, pp. 373 and 386.40. Ibid., p. 393.41. Shakespeare, Richard II, ed. Wells, p. 13.42. Ibid., p. 13.43. Ibid., p. 13.44. Thomas Sackville and Thomas Norton, Gorboduc or Ferrex and Porrex, ed.

Irby B. Cauthen, Jr. (Lincoln, NE: University of Nebraska Press; London:Edward Arnold, 1970).

45. Lily B. Campbell (ed.), The Mirror for Magistrates. Edited from Original Textsin the Huntington Library (Cambridge: Cambridge University Press, 1938),p. 113.

46. Geoffrey Bullough (ed.), Narrative and Dramatic Sources of Shakespeare.Volume III Earlier English History Plays: Henry VI, Richard III, Richard II(London and New York: Routledge and Kegan Paul; Columbia UniversityPress, 1966), p. 490.

47. Shakespeare, Richard II, ed. Gurr, p. 6. 48. References are to Christopher Marlowe, Edward the Second, ed. Charles R.

Forker (Manchester and New York: Manchester University Press, 1994). 49. Given-Wilson, Chronicles, p. 42. 50. Ibid., p. 42. 51. Duffy, Stripping of the Altars, p. 245.52. David M. Bergeron, ‘The Deposition Scene in Richard II ‘, Renaissance Papers

(1974), pp. 31–7 (p. 36).53. Shakespeare, Richard II, ed. Forker, p. 456.54. Gurr and Ichikawa, Staging in Shakespeare’s Theatres, p. 57. 55. Ronald Bryden, New Statesman (24 April 1964). 56. Michael Bogdanov and Michael Pennington, The English Shakespeare

Company: the Story of The Wars of the Roses 1986–1989 (London: Nick HernBooks, 1990), p. 24.

57. Ibid., p. 108.58. Michael Cronin took over the role from John Castle for the 1988/89 tour. 59. Andrew Rissik, ‘The Henry Trilogy’, Plays and Players (March 1987), pp. 8–11

(p. 11). 60. Bogdanov and Pennington, English Shakespeare Company, p. 107.61. RSC programme: Richard II (1990). The quote is from Christopher Hibbert,

Benito Mussolini: a Biography (London: Longmans, 1962; Penguin, 1975). 62. RSC programme: Richard II. The quote is from Marie Louise Bruce, The

Usurper King: Henry Bolingbroke 1366–99 (London: Rubicon, 1986). 63. Harry Eyres, Times (13 September 1991) (Barbican production).64. Ibid.65. Weimann, ‘Representation’, in Kamps, Materialist Shakespeare, p. 208. 66. Russell Jackson, ‘Shakespeare on the Stage from 1660 to 1990’, The

Cambridge Companion to Shakespeare Studies, ed. Stanley Wells (Cambridge:Cambridge University Press, 1996), pp. 187–212 (p. 209).

67. Bruce, Usurper King, in RSC programme. 68. John Lahr, ‘Blues for His Majesty’, The New Yorker (10 July 1995), pp. 83–5

(p. 83). 69. Ibid., p. 83.70. Christian Tyler, Financial Times (9 December 1995).

Notes, pp. 154–74 195

71. Ibid.72. See my article: ‘“Bifold Authority” in Deborah Warner’s Richard II’,

Shakespeare Bulletin, 15:1 (Winter 1997), pp. 28–30.73. Matt Wolf, ‘“Richard II”’, Variety (12–18 June 1995).74. Letter to Helen Potter, 22 August 2000. See also Carol Chillington Rutter,

‘Fiona Shaw’s Richard II: the Girl as Player-King as Comic’, ShakespeareQuarterly, 48 (1997), pp. 314–24 (p. 323): ‘Shaw did not see the collapseinto comedy that some reviewers complained of in her performance.Rather, comedy intensified and complicated the focus. It was a “demon-stration that so many of the games we’re deadly serious about showthemselves to be absurd if you slant them, if you skew them just a littleobliquely”’.

75. Charles Spencer, Daily Telegraph (31 March 2000).76. Michael Dobson, ‘Shakespeare Performances in England’, Shakespeare Survey,

54 (2001), pp. 246–82 (p. 276).77. See John Willett (ed.), Brecht on Theatre: the Development of an Aesthetic

(1957; Methuen: London, 1964), p. 229. 78. Margaret Shewring, Shakespeare in Performance: King Richard II (Manchester

and New York: Manchester University Press, 1996), p. 123. 79. Role Play, BBC Radio 3, 14 July 1997. 80. Bogdanov and Pennington, English Shakespeare Company, p. 106.81. Ibid., pp. 106–7. 82. Role Play, BBC Radio 3, 14 July 1997. 83. Lahr, ‘Blues for His Majesty’, pp. 83 and 85.84. The Globe Theatre Company programme, ‘Middle Temple Hall: Richard II’

(2003). 85. Shakespeare’s Globe: Letter from Mark Rylance to Anthony Arlidge QC

(undated). 86. Anthony Arlidge, Shakespeare and the Prince of Love: the Feast of Misrule in the

Middle Temple (London: Giles De La Mare Publishers, 2000), p. 28. 87. Ibid., p. 28.88. Weimann, ‘Representation and Performance’, in Kamps, Materialist Shakes-

peare, p. 209.89. The Globe Theatre Company programme, p. 23.90. Ibid., p. 23.91. See Bruce, Usurper King.92. See the ‘Introduction’ in Daniel J. Vitkus (ed.), Three Turk Plays from Early

Modern England: Selimus, A Christian Turned Turk, and The Renegado (NewYork: Columbia University Press, 2000).

93. Ibid., pp. 236–7, n. 17.

6. Conclusion: prop and word

1. W. B. Worthen, Shakespeare and the Force of Modern Performance (Cambridge:Cambridge University Press, 2003), p. 10.

2. Ibid., p. 10. The argument is important to Butler’s idea that gender is per-formed. See Judith Butler, Gender Trouble: Feminism and the Subversion ofIdentity (New York: Routledge, 1990) and Excitable Speech: a Politics of the

Performative (New York and London: Routledge, 1997). The idea thatmeaning cannot belong to the speaker is implicit in Volos̆inov’s insightthat language is ‘social utterance’, acquiring life and historically evolving‘in concrete verbal communication, and not in the abstract linguisticsystem of language forms, nor in the individual psyche of speakers’. SeeMorris, Bakhtin Reader, pp. 58–9.

3. Worthen, Force of Modern Performance, p. 12. 4. Ibid., p. 12.5. See Worthen’s striking study of Grupo Galpão’s Romeu e Julieta, where he

shows how the performance event is marketed as ‘local’ Brazilian streettheatre brought to the Globe stage (i.e. ‘place’) through a policy of globaliz-ing outreach, the ‘Globe-to-Globe 2000’ season (‘space’), reducing thecompany’s ‘transnational dimension’ of performance practice (p. 162). Myattempt to summarize the argument cannot of course do justice toWorthen’s analysis.

6. See Morris, Bakhtin Reader, p. 58.7. Independent Ballet Wales programme, 2001–2002.8. See note 2 to Worthen’s ‘Introduction’ (p. 216) where he includes Carol

Rutter’s observation that ‘I do’ is ‘actually very rarely spoken as part of awedding service today’, though it cites ‘the performative dimension of wed-dings’.

9. See Belsey, Shakespeare and the Loss of Eden. 10. My thanks to Dovo and Loveace Company for the email reply 7 September

2002.

196 Notes, pp. 174–6

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Filmography

The Taming of the Shrew (USA, 1929) Dir. Sam TaylorMary Pickford (Kate), Douglas Fairbanks (Petruchio)

The Taming of the Shrew (USA, Italy, 1966)Dir. Franco ZeffirelliElizabeth Taylor (Kate), Richard Burton (Petruchio)

The Taming of the Shrew (UK, 1980)Dir. Jonathan MillerSarah Badel (Kate), John Cleese (Petruchio)

The Merchant of Venice (UK, 1973)Dir. Jonathan Miller with John SichelShylock (Laurence Olivier), the Prince of Morocco (Stephen Greif)

Hamlet (UK, 1948)Dir. Laurence OlivierOphelia (Jean Simmons), Hamlet (Laurence Olivier)

Hamlet (USSR, 1964)Dir. Grigori KozintsevOphelia (Anastasia Vertinskaya), Hamlet (Innokenti Smoktunovksy)

Hamlet (USA, 1990)Dir. Franco ZefirelliOphelia (Helena Bonham-Carter), Hamlet (Mel Gibson)

Hamlet (USA, 2000)Dir. Michael AlmereydaOphelia (Julia Stiles), Hamlet (Ethan Hawke)

Richard II (UK, 1989)Dir. Michael Bogdanov with producer, Tim MilsomRichard (Michael Pennington), Bolingbroke (Michael Cronin)

Richard II (UK, 1997)Dir. Deborah Warner with producer, John WyverRichard (Fiona Shaw), Bolingbroke (Richard Bremmer)

206

Theatre Company Credits

The Taming of the ShrewDir. W. Bridges-Adams (Stratford-upon-Avon Festival Company, 1928)Dorothy Massingham (Kate), Wilfrid Walter (Petruchio)

The Taming of the ShrewDir. Michael Bogdanov (RSC, 1978) Paola Dionisotti (Kate), Jonathan Pryce (Petruchio)

The Taming of the ShrewDir. Bill Alexander (RSC, 1992)Amanda Harris (Kate), Anton Lesser (Petruchio)

The Taming of the ShrewDir. Lindsay Posner (RSC, 1999)Monica Dolan (Kate), Stuart McQuarrie (Petruchio)

The Taming of the Shrew Dir. Ruth Garnault (Wales Actors’ Company, 2002)Charlotte Rogers (Kate), Paul Garnault (Petruchio)

The Merchant of VeniceDir. Theodore Komisarjevsky (Stratford-upon-Avon Festival Company,1933)Randle Ayrton (Shylock), Stanley Howlett (Prince of Morocco)

The Merchant of VeniceDir. Michael Langham (Stratford-upon-Avon Festival Company, 1960)Peter O’Toole (Shylock), Paul Hardwick (Prince of Morocco)

The Merchant of VeniceDir. Jonathan Miller ( National Theatre Company, 1970)Laurence Olivier (Shylock), Tom Baker/Stephen Grief (Prince of Morocco)

The Merchant of VeniceDir. John Caird (RSC, 1984)Ian McDiarmid (Shylock), Hepburn Graham (Prince of Morocco)

207

The Merchant of VeniceDir. Bill Alexander (RSC, 1987)Antony Sher (Shylock), Hakeem Kae-Kazim (Prince of Morocco)

The Merchant of VeniceDir. David Thacker (RSC, 1993)David Calder (Shylock), Ray Fearon (Prince of Morocco)

The Merchant of Venice Dir. Loveday Ingram (RSC, 2001)Ian Bartholomew (Shylock), Chris Jarman (Prince of Morocco)

Richard IIDir. Michael Bogdanov (English Shakespeare Company, 1987)Michael Pennington (King Richard), John Castle/Michael Cronin(Bolingbroke)

Richard IIDir. Ron Daniels (RSC, 1990)Alex Jennings (King Richard), Anton Lesser (Bolingbroke)

Richard IIDir. Deborah Warner (Royal National Theatre Company, 1995)Fiona Shaw (King Richard), David Threlfall (Bolingbroke)

Richard IIDir. Steven Pimlott (RSC, 2000)Samuel West (King Richard), David Troughton (Bolingbroke)

Richard IIMaster of Play, Tim Carroll (Globe Theatre Company, 2003)Mark Rylance (King Richard), Liam Brennan (Bolingbroke)

208 Theatre Company Credits

Addenbrooke, David, 73Adorno, Theodor W., 3Alexander, Bill

The Merchant of Venice, 77–86The Taming of the Shrew, 46–53

Almereyda, Michael, Hamlet (US,2000), 115–36

Alpers, Paul, 15, 105–7, 111–12Arendt, Hannah, 87Arlidge, Anthony, 168–9Axton, Marie, 105Aylmer, Felix, as Polonius, 117Ayrton, Randle, as Shylock, 68–70

Badel, Sarah, as Kate, 46–9Baker, H., 62–3Baker, Tom, as Prince of Morocco, 89Bakhtin, Mikhail, 10; see also Volos⁄inovBartholomew, Ian, as Shylock, 87–100Barton, John, 159Bassnett, Susan, 19Bates, Alan, as Claudius, 121–34Belsey, Catherine, 6, 9, 175Benjamin, Walter, 3Bergeron, David M., 148Bhaba, Homi K., 77Biddle, Esme, as Kate, 28Bloomfield, Anthony, 90 Bogdanov, Michael

Richard II, 149–61 The Taming of the Shrew, 36, 40–3

Bonham-Carter, Helena, as Ophelia,116, 121–3, 132–4

Boose, Lynda E., 2 Bordwell, David, 117Bourdieu, Pierre, 4Branagh, Kenneth, 3, 111 (see note

36), 112, 141Braun, Edward, 69Bremmer, Richard, as Bolingbroke,

155–6, 164–5Brennan, Liam, as Bolingbroke,

170–3

Brett, Jeremy, as Bassanio, 88Bridges-Adams, W., The Taming of the

Shrew, 27–36Bristol, Michael D., 8, 10–11Brown, John Russell, 73, 77Brownlow, Kevin, 34, 36Bullough, Geoffrey, 144Bulman, James C., 9, 85, 89–90Burt, Richard, 2Burton, Richard, as Petruchio, 36–40Butler, Judith, 174

Caird, John, The Merchant of Venice,77–82

Calder, David, as Shylock, 87, 91–6Camden, Carroll, 108Campbell, Lily B., 144Canning, Joseph, 138, 141Carroll, Tim, Richard II, 168–73Catharine and Petruchio (Garrick,

1756), 27, 35ceremony, 137–73

crown, 159–73royal anointing, 138throne, 148–59

Civil Wars, The (Samuel Daniel), 144Cleese, John, as Petruchio, 46–9Close, Glenn, as Gertrude, 121–3,

132–4Cohen, Walter, 62, 86–7Colin Clouts Come Home Againe (Ed-

mund Spenser), 114commedia dell’arte, 11, 65–6, 69–72Cook, Ann Jennalie, 19Cosgrave, Art, 20 (see note 10), 23–4Coursen, H. R., 13Cressy, David, 20–1, 25–6, 114Cronin, Michael, as Bolingbroke,

150–1, 159–61cultural criticism, 1–15

cultural history, 6cultural materialism, 2–5, 7, 9–10cultural studies, 6–7

209

Index

identity culture, 7postmodern culture, 2; film, 123

Cutler, Allan Harris, 57–8Cutler, Helen Elmquist, 57–8

Daly, Augustin, 32D’Amico, Jack, 65Daniels, Ron, Richard II, 151–3, 161–3Daniels, Stephen, 105 (see note 17)Davies, Anthony, 117Davies, Heather, 1Dench, Judi, 2Déprats, Jean–Michel, 13Dessen, Alan C., 8, 13, 93dialogism, 10–11, 14Dickens, A. G., 139Dillon, Janette, 139Dionisotti, Paola, as Kate, 40–3Dobson, Michael, 156Dolan, Monica, as Kate, 44–6Doran, Gregory, 1, 82–3Doran, Susan, 103–4Davies, Andrew, 9Downie, Penny, as Portia, 11–12,

94–6Duffy, Eamon, 110, 114, 139, 147

Eagleton, Terry, 5, 7Edward the Second (Marlowe), 144–6Elizabeth I, 61, 103–8, 137–9English Shakespeare Company,

149–51, 159–61Erenstein, Robert L., 71Euphues (John Lyly, 1578), 24Eyman, Scott, 30–3, 35–6

Faerie Queen, The (Spenser), 116Fairbanks, Douglas, as Petruchio,

28–36Fearon, Ray, as Prince of Morocco,

94–6Findlay, Alison, 7Findlay, Deborah, as Portia, 85–6Fletcher, John, 1, 5French, Philip, 90Foucault, M., 41Fukuyama, Francis, 6

Garbisu, Gabriel, as Shylock, 58

Garnault, Paul, as Petruchio, 53–6Garnault, Ruth, The Taming of the

Shrew, 46, 53–6Garrick, David, 27, 35Gelder, Ian, as Antonio, 96German Expressionism, 69Gibson, Mel, as Hamlet, 121–3, 132–4Gibson-Graham, J. K., 6Given-Wilson, Chris, 138, 145–6 Glacken, Clarence J., 110Gombrich, E. H., 47, 118Gorboduc (Sackville and Norton), 144Gordon, Alex, 72–3Gossett, Suzanne, 13Grady, Hugh, 4 (see note 8)Graham, Hepburn, as Prince of

Morocco, 81Graves, Michael A. R., 142–3Greenblatt, Stephen, 5, 10, 62Greif, Stephen, as Prince of Morocco,

89–90Gross, John, 88Gulliford, Hermione, as Portia, 98–9Gurr, Andrew, 140, 149

Hackett, Helen, 64–5, 103Hall, Peter, 149Hallinan, Tim, 47Halpern, Richard, 5Hardwick, Paul, as Prince of

Morocco, 75–7Haring-Smith, Tori, 27–8, 35Harris, Amanda, as Kate, 46–7, 50–3Hawke, Ethan, as Hamlet, 123–7,

134–6Herlie, Eileen, as Gertrude, 127–9Heyme, Hansgünther, The Merchant

of Venice, 58Hickey, Paul, as Bassanio, 96Hobsbawm, E., 7 Hodgdon, Barbara, 8, 11, 31–2, 38Holderness, G., 21 (see note 17), 36Holland, Peter, 91, 93Holm, Ian, as Polonius, 122Holquist, Michael, 10 (see note 36)Hotine, Margaret, 60Houlbrooke, Ralph A., 25–6Howlett, Stanley, as Prince of

Morocco, 69–72

210 Index

Ichikawa, Mariko, 140Independent Ballet Wales, 175Ingram, Loveday, The Merchant of

Venice, 86–7, 96–100Ingram, Martin, 21–2, 25 Irons, Jeremy, as King Richard, 147Irving, Henry, 67Islam (Islamic lands in the early

modern period), 57–67conversion to; see Three Ladies of

London (Robert Wilson), 59–60crusades, 57Knights Templar, 168, 171Morocco, 61Ottoman Empire, 58–9

Island Princess, The (Fletcher), 1, 5

Jackson, Russell, 152Jacobson, Howard, 78–9Jameson, Fredric, 2Jardine, Lisa, 9, 61, 79–80, 108 (see

note 29)Jarman, Chris, as Prince of Morocco,

98–9Jennings, Alex, as King Richard,

152–3, 161–3Jews (Judaism; Jewishness; as aliens in

early modern England), 57–100conversion to Christianity, 58–60;

to Islam (see Three Ladies ofLondon, 59–60)

crypto Jews (Marranos), 58–9A Discourse Upon Usury (Thomas

Wilson), 60The Jew of Malta (Christopher

Marlowe), 60, 62Lopez, Roderigo, 60

Jolson, Al, 71–2Jones, Maria, 35, 154Joughin, John J., 4 (see note 9)Junger, Gil, 14, 136

Kae-Kazim, Hakeem, as Prince of Mo-rocco, 85

Kantorowicz, Ernst H., 105, 142Keegan, Shelagh, 91Kentrup, Norbert, as Shylock, 68–9Keyishian, Harry, 117Kiernan, Pauline, 68

Kliman, Bernice W., 128Komisarjevsky, Theodore, The

Merchant of Venice, 67–72Konrath, M., 22 (see note 20)Kozintsev, Grigori (Hamlet USSR,

1964), 116, 118–21, 129–32Kyle, Barry, Richard II, 146–7

Langham, Michael, The Merchant ofVenice, 67, 72–7

Lesser, Anton as Bolingbroke, 153, 161–3 as Petruchio, 46, 50–3

Levin, Carole, 104Lewis, Bernard, 14, 57–8Loomba, Ania, 64, 77Loughrey, Bryan, 21Loveace Company, 176Lyly, John, 24

MacLachan, Kyle, as Claudius,124–7, 134–6

Macnaghten, Phil, 110Madden, John, 2Manchot, Melanie, 3Marcus, Leah, 43Marlowe, Christopher, 59–60, 62marriage, 19–56

Betrothal of the Arnolfini, The, 47clandestine marriage, 20, 25–6consensualist argument, 14, 20–1Council of Trent, 20divorce, 26Government White Paper, 19licences, 25Mary Play, The, 20–1Miseries of Enforced Marriage, The

(George Wilkins), 22–3pre–contract, 19–24Preparative to Marriage, A (Henry

Smith), 24Puritan orthodoxy, 26–7

Marxism, 5–7, 10Massingham, Dorothy, as Kate,

28–36Mast, Gerald, 35 (see note 65) McDiarmid, Ian, as Shylock, 77–82McLuskie, Kathleen, 8McQuarrie, Stuart, as Petruchio, 43–6

Index 211

Meredith, Peter, 20–1 (see note 13) Meyerhold, Vsevolod, 69Miller, Jonathan

The Merchant of Venice (UK, 1973),86–91

The Taming of the Shrew (BBC,1980), 46–9

Minstrels, 71–2Mirror for Magistrates (1559), 144Mithal, H. S. D., 59Montrose, Louis Adrian, 103–5Morris, Pamela, 10 (see note 36), 11Munck, Ronaldo, 5–6Murray, Bill, as Polonius, 124–7

Nazwanov, Michail, as Claudius,120–1, 130–1

Nevo, Ruth, 46new historicism, 2, 4–5, 9–10Nicholls, Anthony, as Antonio, 88Norton, Thomas, 144

Oliver, Richard, The Merchant ofVenice, 68

Olivier, Laurence as Hamlet (1948), 115–18, 127–9 as Shylock, 87–91,

Orkin, Martin, 77O’Toole, Peter, as Shylock, 67–77

Palin, Michael, 57pastoral, 103–36

green sickness, 108–9Lady of May, The (Philip Sidney),

108, 111–12see also Spenser, Colin Clouts Come

Home Againe, 114; The FaerieQueene, 116; ShepheardesCalendar, 104–6

Penhaligon, Susan, as Bianca, 49Pennington, Michael, as King

Richard, 149–51, 159–61performance criticism, 8–12

locus and platea, 15, 50, 139–73performativity, 174–7

Peterson, Kaara L., 108Phillips, Patrick, 124Phillips, Roderick, 26Pickford, Mary, as Kate, 28–36

Pimlott, Steven, Richard II, 156–9,165–8

Plowright, Joan, as Portia, 89–90Pollen, Isabel, as Jessica, 97–100Popkin, Richard H., 61Posner, Lindsay, The Taming of the Shrew,

40–6postcolonial criticism, 14, 77Pryce, Jonathan, as Petruchio, 40–3Pullan, Brian, 58, 80, 84

Quayle, Antony, 149

Rabinov, Paul, 41Radzin-Szolkonis, Elza, as Gertrude,

130–1Rehan, Ada, 32–3Rissik, Andrew, 151Robeson, Paul, 75Robins, Nicolas, 68–9Rogers, Charlotte, as Kate, 53–6Rose, Clifford, as Antonio, 94Rota, Nino, 36Rothwell, Kenneth S., 118Rowe, Eleanor, 120Rudkin, John, 65, 69Rutter, Carol Chillington, 43, 115

(see note 53), 155 (see note 74),175 (see note 8)

Ryan, Kiernan, 6, 11Rylance, Mark, as King Richard, 168–73

Sackville, Thomas, 144Saire, Rebecca, as Bianca, 53Salingar, Leo, 86, 97Salzman, Paul, 24Schreiber, Live, as Laertes, 124Schroeder, Rev. H. J., 20 (see note 8)Scott, Virginia P., 72Shakespeare, William

Hamlet, 103–36Henry IV Part 1, 140Measure for Measure, 23The Merchant of Venice, 57–100Much Ado about Nothing, 24, 112Othello (Carlton Central, 2001),

9–10Richard II, 137–73The Taming of the Shrew, 19–56

212 Index

The Winter’s Tale, 107–8, 112–13Shakespeare’s Globe Theatre, 68–9, 174

Globe Theatre Company, 168–73Shakespeare Memorial Theatre, 28

Rebuilding Fund, 30Shapiro, James, 9, 63Shaw, Fiona, as King Richard, 154–6,

163–5Shepheardes Calendar, The (Spenser),

104–6Sher, Antony, as Shylock, 77, 82–6Shewring, Margaret, 159Showalter, Elaine, 129Shrimpton, Nicholas, 81Sidney, Sir Philip, 108, 111Simmons, Jean, as Ophelia, 116–18,

127–9Simons, Nick, as Tubal, 91–4Smallwood, Robert, 53Smith, Henry, A Preparative to

Marriage, 24Smith, Peter J., 5 (see note 12), 8–9Smoktunovsky, Innokenti, as

Hamlet, 119–21, 129–32Spenser, Edmund, 104–6, 114, 116Spoto, Donald, 89Starkey, David, 104, 138–9Stiles, Julia

as Kate, 14 as Ophelia, 116, 124–7, 134–6

Stone, Lawrence, 26Strype, John, 25Sydney, Basil, as Claudius, 117–18,

127–9Symonds, H. Edward, 20

Taming of A Shrew, The, 21Tasker, Yvonne, 121Taylor, Elizabeth, as Kate, 12, 36–40Taylor, Neil, 119Taylor, Sam, The Taming of the Shrew

(US, 1929), 12, 27–36Teague, Frances, 15, 35Teatro de la Abadia, 58Thacker, David, The Merchant of

Venice, 11–12, 86–97Three Ladies of London (Robert

Wilson), 59–60 Threlfall, David, as Bolingbroke,

154–6, 163–5

Toll, Robert C., 71–2Tolubeyev, Yuri, as Polonius, 119–20Tomelty, Francis, as Portia, 82Trachtenberg, Joshua, 59Troughton, David, as Bolingbroke,

157–9, 165–8Tutin, Dorothy, as Portia, 74

Ultz, David, 79–80Urry, John, 110

Venora, Diane, as Gertrude, 124–7,135–6

Vertinskaya, Anastasia, as Ophelia,116, 118–21, 129–32

Vince, R. W., 11 Vitkus, Daniel J., 171 Volos⁄inov, V. N., 10–11, 14, 175

Wales Actors’ Company, 12, 53–6Walter, Wilfrid, as Petruchio, 28–36Warner, Deborah, Richard II, 153–6,

163–5Warner, Marina, 104Wars of the Roses, The (ESC), 149Weimann, Robert, 15, 50, 139–40,

152, 169Wells, Stanley, 48, 82, 144Wesker, Arnold, 93–4West, Samuel, as King Richard, 156–9,

165–8Whelehan, Imelda, 2Whitfield, Eileen, 33Whitgift, John, 25Whitney, Charles, 4Wilders, John, 47Wilkins, George, 22–3Willett, John, 157Williams, Raymond, 105Willis, Susan, 47Windeler, R., 31Woodstock (anon.), 144Worthen, W. B., 9, 11, 174–5Wright, Louis B., 19 (see note 3)

Zeffirelli, FrancoHamlet (USA, 1990), 116–34 The Taming of the Shrew (USA,

1966), 12, 36–40

Index 213