Select Bibliography

Unless otherwise stated, all quotations from the plays are taken from:

Stanley Wells and Gary Taylor (eds), The Complete Works of Shakespeare,Oxford: Oxford University Press, 1986.

Giorgio Melchiori (ed.), King Edward III, Cambridge: Cambridge UniversityI

Press, 1998.

Arnold, Thomas. The Renaissance at War. London: Cassell, 2001.Cogswell, Thomas. The Blessed Revolution: English Politics and the Coming of War,

1621–1624. Cambridge: Cambridge University Press, 1989.Courtney, Richard. Shakespeare’s World of War. Toronto: Simon and Pierre

Publishing, 1994.Digges, Thomas. An Arithmetical Warlike Treatise named Stratioticos. London:

Richard Field, 1590.Edelman, Charles. Shakespeare’s Military Language: A Dictionary. London: Athlone

Press, 2000.Eltis, David. The Military Revolution in Sixteenth-Century Europe. New York: Barnes &

Noble, 1995.Favier, Jean. La Guerre de Cent Ans. Paris: Fayard, 1980.Froissart, Jean. Chroniques, Ed. Peter F. Ainsworth and George T. Diller. Paris:

Librairie Generale Franc´ ¸aise, 2001.ccGarrard, William. The Arte of Warre. London, 1591.Goldberg, Jonathan. James I and the Politics of Literature. Baltimore: Johns Hopkins

University Press, 1993.Griffin, Benjamin. Playing the Past: Approaches to English Historical Drama 1385–

1600. Woodbridge, UK: D. S. Brewer, 2001.Hale, J. R. Renaissance War Studies. London: Hambledon, 1983.Hall, Bert S. Weapons and Warfare in Renaissance Europe: Gunpowder, Technology,

and Tactics. Baltimore: Johns Hopkins University Press, 1997.Hillman, Richard. Shakespeare, Marlowe and the Politics of France. Basingstoke:

Palgrave – now Palgrave Macmillan, 2002.Hodgdon, Barbara. The End Crowns All: Closure and Contradiction in Shakespeare’s

History. Princeton: Princeton University Press, 1991.Holmes, Robert L. On War and Morality. Princeton: Princeton University Press,

1989.Holt, Mack P. The French Wars of Religion, 1562–1629. Cambridge: Cambridge

University Press, 1995.Hortmann, Wilhelm. Shakespeare on the German Stage: The Twentieth Century.

Cambridge: Cambridge University Press, 1998.Houston, S. J. James I. Harlow: Longman, 1995.Jorgensen, Paul. Shakespeare’s Military World. Berkeley and Los Angeles: University

of California Press, 1956.

243

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Keen, Maurice (ed.). Medieval Warfare: A History. Oxford: Oxford University Press,1999.

King, Ros. Cymbeline: Constructions of Britain. Aldershot: Ashgate, 2005.McCoy, Richard. The Rites of Knighthood: The Literature and Politics of Elizabethan

Chivalry. Berkeley: University of California Press, 1989.McIlwain, Charles Howard (ed.). The Political Works of James I. Cambridge, Mass.:

Harvard University Press, 1918.McMullan, Gordon and Jonathan Hope (eds). The Politics of Tragicomedy:

Shakespeare and After. London: Routledge, 1992.Meron, Theodor. Bloody Constraint: War and Chivalry in Shakespeare. Oxford:

Oxford University Press, 1998.Meron, Theodor. Shakespeare’s Wars and Shakespeare’s Laws. Oxford: Clarendon

Press, 1993.Parker, Geoffrey. The Military Revolution: Military Innovation and the Rise of the West,

1500–1800. Cambridge: Cambridge University Press, 1988.Patterson, W. B. King James VI and the Reunion of Christendom. Cambridge:

Cambridge University Press, 1997.Perroy, Edouard. La Guerre de Cent Ans. Paris: Gallimard, 1943.Plaisse, Andre. A travers le Cotentin: La Grande Chevauchee guerri´ ere d’` Edouard III en’ ´

1346. Cherbourg: Isoete, 1994.`Potter, David (ed. and tr.). The French Wars of Religion: Selected Documents. London:

Macmillan, 1997.Rackin, Phyllis. Stages of History: Shakespeare’s English Chronicles. Ithaca, NY:

Cornell University Press, 1990.Rich, Barnabe. Allarme to England. London, 1578.Somogyi, Nick de. Shakespeare’s Theatre of War. Aldershot: Ashgate, 1998.Styward, Thomas. The Paithwaie to Martiall Discipline. London, 1588.Sutcliffe, Matthew. The Practice, Proceedings and Lawes of Armes. London, 1593.Taunton, Nina. 1590s Drama and Militarism. Aldershot: Ashgate, 2001.

Index

acting style, 111–14, 201, 230–1actors: Ewald Balser, 203; Alfred

Balthoff, 201; Richard Burton,234; Alec Clunes, 234; Giselavon Collande, 203; Iurie Darie,97, 104; Judi Dench, 238–9;John Gielgud, 154; AurelGiurumia, 103; GustavGrundgens, 154; David¨Gwillim, 235; Robert Hardy,239; Steffi Hinzelmann, 201;Ian Holm, 235; MarianneHoppe, 206; Alan Howard, 235;Serban Ionescu, 97; Kevin Kline,235; Gustav Knuth, 206; FritzKortner, 141; Vivien Leigh, 154;Laurence Olivier, 153–4;Franco Parenti, 166; MichaelPennington, 215, 217, 218;Christopher Plummer, 235;Gabriela Popescu, 104; MarianRalea, 97; Mark Rylance, 235;ˆPaul Schofield, 234; SilviuStanculescu, 97, 105–6;˘Lewis Waller, 234

adaptation, 6–8, see also Shakespeare’sworks in translation andadaptation

America, see United StatesAndrewes, Lancelot, 126–9Armada, the Spanish, 3, 36artillery, 36–7

military revolution, 2, 17, 30–1,36–7

battle of the sexes, see genderdifference

Berlin Wall, 138, 141, 143Bible, uses of, 188

Golgotha, 7Herod, 75–6, 111, 157in Romanian translation, 133–4and siege, 25

booty, see looting and plunderBosnia, 193Brecht, Bertolt, 5, 109, 139–49

passim, 167: influence of, 217,220, 228, 231, 236

Berliner Ensemble, see theatres andtheatre companies

Coriolanus, 142: Gunter Grass,¨ DiePlebejer proben den Aufstand,142–3, 145–7

Leben des Galilei, 146Die Maßnahme, 139The Resistible Rise of Arturo Ui, 109,

111–20, 139Schweyk in the Second World War, 164r

Britain, 8, 10, 223British Isles, 2Conservative Party, 9and Margaret Thatcher, 214, 217Union of, 46, 48–9

Ceausescu, Nicolae, Romanianssdictator and family, 96–107 passim

Chaucer, Geoffrey, 62chevauchee, 30, 36, 37–8chivalry, 2, 37–8, 46, 126, 217, 221,

237–8Order of the Garter, 30, 35

civil unrest, 58–60, 174–5civil war, 177, 217civilians, treatment in wartime, 2, 9,

56–67class war, 217classical military practice, 15, 19–21

Aeneias the Tactitian, 26Cold War, 5

and Romania, 125–6, 133–6context, see interpretation and

receptioncostume, 102–3, 169, 177, 213–22

passimas Brechtian distancing device,

216–17

245

246 Index

Croatia, war in, 183, 191–4language and literature of, 192

Dekker, Thomas, 110–11Denmark, 5, 44, 153–4, 158–65Devereux, Robert, see Essexdialect: ideolect and invented

language, 166, 173–4; Milanese,166; ‘Scottishisms’ 34;

Welsh accent and usage, 16,21, 27

Digges, Thomas, Stratioticos,15–16

‘directors’ theatre’, 167Dutch revolt, see Netherlands

Edward III of England, 30–3Elizabeth I, of England, 3, 30,

44–5, 86and royal plunder 128

England, 2, 15claim to France, 30–3,

35, 40Elizabethan army, 30, 37, 38royal succession, 32–3

epic, 56–7, 213epic theatre, 141Essex, Robert Devereux, Earl of, 9,

47, 126

Fabritius, Carel, 9–10Falklands war, 214–15, 217film, see Shakespeare’s plays

on filmfortification, 16–17, 19France, 15, 16

English claim to, 30–3law of succession in, 32–3: Salic

Law, 74wars of religion, 3, 18, 33

Garrard, William, The Art of Warre,16–28 passim

Garter, Order of the, see chivalry.Gascoigne, George, A Larum for

London, 28, 127gender difference, 198, 202–9

see also sexuality

genre, 84tragicomedy and mixed genre, 4, 15,

22–5, 84–94, 98, 102–7in The Taming of the Shrew, 201–3

Germany, 5, 9, 197–209and Denmark, 154German Shakespeare Society, 140

Gide, Andre, 168´Gosson, Stephen, The Trumpet of

Warre, 126Grass, Gunter, 142–3, 145–7¨Great Britain, see Britain

heroes and heroism, 141, 217, 226,232–3, 238–9

historicism and presentism, 6–8,231–40

Hitler, Adolph, 112–19 passim, 144,158, 197

see also Nazishonour, 2, 86–92

see also chivalry; heroes andheroism

hostages, 62–3Hundred Years War, 9, 32, 38Hungarian rising, 144

interpretation and reception, 168,183, 213–23, 226–40

context, 183–94and modern wars: see Bosnia;

Croatia; Falklands; Iraq;Vietnam

see also Shakespeare’s works intranslation and adaptation

Iraq, 10, 109, 226–7, 237Ireland, 2, 15, 47, 49, 85Italy, 173–5

see also dialect

James VI and I, of Scotland andEngland, 4, 33, 34

neutrality, 86peace policies, 43–6

Jensen, Johannes V, 154–6, 161,164–5

just war, 9–10, 22–8, 56, 79–80and St Augustine of Hippo, 1see also law and legality in war

Index 247

language, see rhetoriclaw and legality in war, 9, 25–8, 36,

56, 59–61, 63, 66see also just war

looting and plunder, 25–8, 37–8, 57,61–3, 127–8

sacking, 74–8Low Countries, 85–6, 90

see also Netherlandslove, see sexuality

Machiavelli, Niccolo, 60, 127`Marlowe, Christopher, 31masculinity, see gender differencemathematics, 16, 17, 233mercenaries, 3, 88militarism, 125–33, 141–2, 226–8,

236–7anti-militarism, 112, 231

military ranks, 17–19, 24military revolution, see artillerymoney, 226, 231–4, see also ransomMuller, Heiner, 138–49¨

Germania 3, 138–40, 143–9Germania Tod in Berlin, 139Macbeth, 140Wolokolamsker Chaussee, 139see also Shakespeare’s works in

translation and adaptationMunk, Kaj, 154, 157–65

An Idealist, 157tCant, 157tEgelykke, 164Niels Ebbesen, 164see also Shakespeare’s works in

translation and adaptationMussolini, Benito, 131

Nazis, 5, 141–2, 160–4and Coriolanus, 111Erich Kochanowski, 200Hermann Goring, 154¨and Merchant of Venice, 111and The Taming of the Shrew,

197–209see also Hitler

nation-state, 2–3, 56nationalism, 39–40, 50

Netherlands, TheDutch revolt, 3, 15, 26–7, 44–5see also Low Countries

non-combatants, 60–1

performance, 6–8, 80, 99–106see also acting style; Shakespeare’s

plays in the theatrePirandello, Luigi, 167post-traumatic stress, 18prisoners, 9, 27, 62–3propaganda, 4–6, 28, 46

ransom, 23, 38, 62, 65–6, 77, andsee money

rape, 9, 39, 76–8traffic in women, 62–3

reception, see interpretation andreception

refugees, 59, 62religion, 44–6, 105, 126–9, 157,

167–73, 197Catholic Church and ritual,

177, 192religious unity, 44–53and secularism, 103–4, 131–5

rhetoric, 20, 56, 58–60, 66, 76, 96,99–101, 109, 112–20, 125, 131–2,227–9, 231–3, 238–9

language and discourse, 16, 21–5,79, 166, 173–4; see also dialect

writing, 6, 191–2ritual, 166–7, 174Roman warfare, see classical military

practice

Salic law, see FranceScotland, 2; see also dialectSecond World War, 3–5, 62, 177, 183,

213–14phoney war, 5and German women, 9and Romania, 125, 130

Sentry, The, see Fabritiussexuality: war and desire, 87–94

in Shakespeare’s Sonnets, 186–91see also gender difference

248 Index

Shakespeare, Williamdramaturgy, 6–10, 22–8, 57–67,

71–4, 81–2; 228–40; use ofsources, 16–22, 35–6, 76–82,114: see dialect; language;see also interpretationand reception

experience of war, 3and James I, 46, 52–3and patriotism, 8–10and propaganda, 4–6in fiction, 4–5

Shakespeare’s plays and poemsAll’s Well that Ends Well, 4, 16, 63,

84–94Antony and Cleopatra, 60, 84As You Like It, 198tThe Comedy of Errors, 4, 197–8Coriolanus, 5, 112, 138, 140, 141–9Cymbeline, 2, 7, 43, 47, 49–51, 52,

84, 141Edward III, 30–40, 63–7IHamlet, 3, 5, 84, 140–41, 145–6,t

153–65, 197–8, 228Henry IV, 1, 2, 16, 26, 66, 215, 217,V

218, 220Henry V, 2, 3, 6, 8–10, 15–16, 18,V

20–8, 47, 50, 61, 65, 71–82, 109,111, 125–36, 213–15, 217–18,222, 226–40: killing ofprisoners, 27, 61–3, 80–1, 131,133, 218, 227; languages andaccent 16, 21, 27, 79, 217–18;and corporate managementtraining, 237–9; and economics,231–40; and justness, 10–12,79–80; as anti-war protest, 227,236; see also militarism

Henry VI, 60, 66, 109, 215, 217,I218–19, 221

Julius Caesar, 5, 111–20,r141–2, 198

King John, 3, 96–107King Lear, 43, 47–9, 51, 67rMacbeth, 7, 48–9, 144, 166, 169–78Measure for Measure, 47–8, 92The Merchant of Venice, 5, 111, 198A Midsummer Night’s Dream, 4, 84,

197–8

Much Ado About Nothing,gg63, 197–8

Othello, 16–19, 84, 198Richard II, 215, 216IRichard III, 47, 100, 215–16,I

219–23Romeo and Juliet, 60, 198tSir Thomas More, 58–9Sonnets, 183–6: Sonnet 121, 183–94;

Sonnet 73, 187The Taming of the Shrew, 197–209The Tempest, 43, 51–2, 92tTitus Andronicus, 141Troilus and Cressida, 85, 87Twelfth Night, 4, 197–8tThe Two Noble Kinsmen, 64–5The Winter’s Tale, 92

Shakespeare’s plays in the theatreAll’s Well (Demi-Paradise, Lancaster

Castle, UK), 95Coriolanus (Comedie Franc´ ¸aise,cc

Paris, France, 1933), 112Cymbeline (Diever Shakespeare

Company, Netherlands), 84–5Hamlet: (Old Vic, 1937) 153; (Betty

Nansen Theatre, 1935), 158Henry V: Austin Shakespeare

Festival, 227; Benson, 227;Bogdanov, 213–22, 227;Calvert, 229, 230; Hytner, 227;Kean, 229, 230–1; Kemble, 227;Khan, 227, 238; Macready, 229;Noble, 227

King John (Regele Ioan,(( Theatre ofComedy, Bucharest, Romania),97–107

The Taming of the Shrew, 197–9:Deutsches Theater, 202–5;Judischer Kulturbund, 199–202;¨Staatliches Schauspielhaus,206–7

The Wars of the Roses (UK and worldtour, 1986–9), 213–23

see also costume; staging and setdesign; interpretation andreception

Shakespeare’s works in translation andadaptation

As You Like It, Mt uller, 140¨

Index 249

Coriolanus, 111, 141–2: Brecht,141–3; Grass, 142–9; Muller,¨138–49; Rothe, 112; DorotheaTieck, 141

Cymbeline, Dorothea Tieck, 141Hamlet: Jensen, 154–6; Muller,¨

140–1; Munk, 154, 157–65;Testori, 166

Henry V: Protopopescu, 130–6;Vinea, 131–6

King John: Botta, 97–8; Nicolau, 98,Gonta, 98–108tt

Macbeth: Muller, 140; Testori, 166,¨169–78; Verdi, 171, 174

Sonnet 121, Maras, 189Titus Andronicus: Muller, 140;¨

Dorothea Tieck, 141Wars of the Roses cycle: Lanoye

(Ten Oorlog), 5in Croatia, 183, 189–94; Denmark,

153–65; Germany, 138–49;197–209; Italy 166–78;Romania, 96–8, 125–6, 130–6

Shakespeare’s plays on film and TVAn Age of Kings (BBC), 239Henry V (1944, Laurence Olivier), 8,

28, 213, 227–30, 234–5Held Henry (1964, Peter Zadek), 5Henry V (1979, BBC/Time Life), 235Henry V (1989, Kenneth

Branagh), 8, 28, 228, 229–30,235–6, 237

Titus (1999, Julie Taymor), 5siege, 16, 25–7, 72, 74–9, 99–102

as desire, 90as allegory, 76

soldiers, 3, 16, 17, 26, 57, 86counterfeit soldiers, 110–11

Spain, 43, 86Standing Orders, 16, 26–7

Spaniards, see Spainstaging and set design, 104, 143–8

spectacle and mise en scene,228–31

Stalin, Joseph, 144Styward, Thomas, The Pathway to

Martiall Discipline, 15, 17, 24surrender, 27, 76

Testori, Giovanni, 166–7La trilogia degli scarrozzanti,

166–78theatre directors: Antonin Artaud,

140, 167; John Barton, 235;Michael Bogdanov, 213–23, 227;Ginafranco de Bosio, 167; MartinBrasch, 200; Peter Brook, 142, 167;Ron Daniels, 236; Erich Engel,141; Eduardo de Filippo, 167;Dario Fo, 167; John Gielgud, 154;Grigori Gonta, 97–107,tt passimJerzy Grotowski, 167; GustavGrundgens, 154; Tyrone Guthrie,¨153; Peter Hall, 235; Terry Hands,235; Leander Haußmann, 139,148; Heinz Hilpert, 202–5;Nicholas Hytner, 227; MichaelKahn, 227, 238; MichaelLangham, 234–5; Adrian Noble,227, 235; Trevor Nunn, 235;Andree Ruth Shammah, 166, 176;´Luigi Squarzina, 167; GiorgioStrehler, 167; Karlheinz Stroux,206; Joachim Tenschert, 142;Manfred Wekwerth, 142; FritzWisten, 200–2; Martin Wuttke,139, 148

theatres and theatre companies:Berliner Ensemble, 138–49, passimsee also Muller¨ and Brecht;Berliner Staatstheater, 154;Berliner Volksbuhne, 199;¨Deutsches Theater, 198, 202;English Shakespeare Company(ESC), 213–23, 236; Judischer¨Kulterbund, 198–202; NationalTheatre (UK), 227; New YorkShakespeare Festival, 235; RSC,227, 234; Shakespeare Theatre ofWashington, 238; Shakespeare’sGlobe, 235; StaatlichesSchauspielhaus amGendarmenmarkt, 198; Stratford(Connecticut), 235; Stratford(Ontario), 235; Teatro PierLombardo, 166; Theater desVolkes, 199; Theatre of Comedy(Bucharest), 96–107

250 Index

Thirty Years War, 44Tilney, Edmund, Master of the Revels,

58–9tragicomedy, see genretranslation, see Shakespeare’s works in

translation and adaptation

United Nations, 9United States, 10, 226–7

Kenneth Adelman, 227, 237–8George W. Bush, 227

Vietnam war, 177–8, 227

war, law of, 9, 25–8, 235, see alsojust war

as character building, 226–40,passim

and desire, 87–94, 226and mathematics, 16as game, 85, 99

women, 9, 57, 208–9see also gender difference; rape

World War II, see Second World War

Yugoslavia, 183, see also Croatia andBosnia