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This book is about two very different kinds of company. On the one hand it concerns Shakespeare's poet-playwright contemporaries, such as Marlowe, Jonson, and Fletcher. On the other, it examines the contribution of his fellow actors, including Burbage, Armin, and Kemp. Traditionally, criticism has treated these two influences in separation, so that Shakespeare is considered either in relation to educated Renaissance culture, or as a man of the theatre. Shakespeare in Company unites these perspectives. Bart van Es argues that Shakespeare's decision, in 1594, to become an investor (or 'sharer') in the newly formed Chamberlain's acting company had a transformative effect on his writing, moving him beyond the conventions of Renaissance dramaturgy. On the basis of the physical distinctiveness of his actors, Shakespeare developed 'relational drama', something no previous dramatist had explored. This book traces the evolution of that innovation, showing how Shakespeare responded to changes in the personnel of his acting fellowship and to competing drama, such as that produced for the children's companies after 1599. Covering over two decades of theatrical history, van Es explores the playwright's career through four distinct phases, ending on the conditions that shaped Shakespeare's late style. Paradoxically, Shakespeare emerges as a playwright unique 'in company'--special, in part, because of the unparalleled working conditions that he enjoyed.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Created in 1594, the theater company in which Shakespeare acted and which staged all his plays became the King's Men in 1603 and ran for forty-eight years up to closure in 1642. Andrew Gurr studies the company's activities, explores its social role and examines its repertoire of plays. This comprehensive illustrated history will be an indispensable guide for anyone wanting to know more about the conditions under which Shakespeare and his successors worked.

Idioma/Language: Español. En 1919 una joven norteamericana llamada Sylvia Beach abrió una librería inglesa en la pequeña calle Dupuytren de París, que pronto se trasladaría a la dirección que se convertiría en mítica: el número 12 de la calle de l?Odéon. La librería, a la que bautizó con el nombre de Shakespeare and Company, fue, entre otras muchas cosas, el punto de encuentro de los más grandes escritores y artistas de la época. Por aquel espacio mágico de intercambio cultural pasaron escritores franceses como Paul Valéry, André Gide, Valéry Larbaud o León-Paul Fargue, y anglosajones como Ernest Hemingway, Francis Scott Fitzgerald, Gertrude Stein, Sherwood Anderson, Ezra Pound, Djuna Barnes, Ford Madox Ford, T S. Eliot, Thornton Wilder, D. H. Lawrence y el gran James Joyce. Fue Sylvia Beach, desdoblada en editora, quien con coraje y osadía, cuando ningún editor se atrevía a asumir el reto, publicó su Ulises. Estas memorias de una irrepetible librera y editora son la crónica de un período igualmente irrepetible, definido por una inusual concentración de genios literarios, a los cuales aglutinó Sylvia Beach en su maravillosa librería parisina. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.

A copiously illustrated account of the famed Paris bookstore on its 65th anniversaryThis first-ever history of the legendary bohemian bookstore in Paris interweaves essays and poetry from dozens of writers associated with the shop--Allen Ginsberg, Anaïs Nin, Ethan Hawke, Robert Stone and Jeanette Winterson, among others--with hundreds of never-before-seen archival pieces, including photographs of James Baldwin, William Burroughs and Langston Hughes, plus a foreword by the celebrated British novelist Jeanette Winterson and an epilogue by Sylvia Whitman, the daughter of the store’s founder, George Whitman. The book has been edited by Krista Halverson, director of the newly founded Shakespeare and Company publishing house.George Whitman opened his bookstore in a tumbledown 16th-century building just across the Seine from Notre-Dame in 1951, a decade after the original Shakespeare and Company had closed. Run by Sylvia Beach, it had been the meeting place for the Lost Generation and the first publisher of James Joyce’s Ulysses. (This book includes an illustrated adaptation of Beach’s memoir.) Since Whitman picked up the mantle, Shakespeare and Company has served as a home-away-from-home for many celebrated writers, from Jorge Luis Borges to Ray Bradbury, A.M. Homes to Dave Eggers, as well as for young authors and poets. Visitors are invited not only to read the books in the library and to share a pot of tea, but sometimes also to live in the bookstore itself--all for free.More than 30,000 people have stayed at Shakespeare and Company, fulfilling Whitman’s vision of a “socialist utopia masquerading as a bookstore.” Through the prism of the shop’s history, the book traces the lives of literary expats in Paris from 1951 to the present, touching on the Beat Generation, civil rights, May ’68 and the feminist movement--all while pondering that perennial literary question, “What is it about writers and Paris?”

Created in 1594, the theater company in which Shakespeare acted and which staged all his plays became the King's Men in 1603 and ran for forty-eight years up to closure in 1642. Andrew Gurr studies the company's activities, explores its social role and examines its repertoire of plays. This comprehensive illustrated history will be an indispensable guide for anyone wanting to know more about the conditions under which Shakespeare and his successors worked.

This book is about two very different kinds of company. On the one hand it concerns Shakespeare's poet-playwright contemporaries, such as Marlowe, Jonson, and Fletcher. On the other, it examines the contribution of his fellow actors, including Burbage, Armin, and Kemp. Traditionally, criticism has treated these two influences in separation, so that Shakespeare is considered either in relation to educated Renaissance culture, or as a man of the theatre. Shakespeare in Company unites these perspectives. Bart van Es argues that Shakespeare's decision, in 1594, to become an investor (or 'sharer') in the newly formed Chamberlain's acting company had a transformative effect on his writing, moving him beyond the conventions of Renaissance dramaturgy. On the basis of the physical distinctiveness of his actors, Shakespeare developed 'relational drama', something no previous dramatist had explored. This book traces the evolution of that innovation, showing how Shakespeare responded to changes in the personnel of his acting fellowship and to competing drama, such as that produced for the children's companies after 1599. Covering over two decades of theatrical history, van Es explores the playwright's career through four distinct phases, ending on the conditions that shaped Shakespeare's late style. Paradoxically, Shakespeare emerges as a playwright unique 'in company'--special, in part, because of the unparalleled working conditions that he enjoyed.

A copiously illustrated account of the famed Paris bookstore on its 65th anniversaryThis first-ever history of the legendary bohemian bookstore in Paris interweaves essays and poetry from dozens of writers associated with the shop--Allen Ginsberg, Anaïs Nin, Ethan Hawke, Robert Stone and Jeanette Winterson, among others--with hundreds of never-before-seen archival pieces, including photographs of James Baldwin, William Burroughs and Langston Hughes, plus a foreword by the celebrated British novelist Jeanette Winterson and an epilogue by Sylvia Whitman, the daughter of the store’s founder, George Whitman. The book has been edited by Krista Halverson, director of the newly founded Shakespeare and Company publishing house.George Whitman opened his bookstore in a tumbledown 16th-century building just across the Seine from Notre-Dame in 1951, a decade after the original Shakespeare and Company had closed. Run by Sylvia Beach, it had been the meeting place for the Lost Generation and the first publisher of James Joyce’s Ulysses. (This book includes an illustrated adaptation of Beach’s memoir.) Since Whitman picked up the mantle, Shakespeare and Company has served as a home-away-from-home for many celebrated writers, from Jorge Luis Borges to Ray Bradbury, A.M. Homes to Dave Eggers, as well as for young authors and poets. Visitors are invited not only to read the books in the library and to share a pot of tea, but sometimes also to live in the bookstore itself--all for free.More than 30,000 people have stayed at Shakespeare and Company, fulfilling Whitman’s vision of a “socialist utopia masquerading as a bookstore.” Through the prism of the shop’s history, the book traces the lives of literary expats in Paris from 1951 to the present, touching on the Beat Generation, civil rights, May ’68 and the feminist movement--all while pondering that perennial literary question, “What is it about writers and Paris?”

This book is about two very different kinds of company. On the one hand it concerns Shakespeare's poet-playwright contemporaries, such as Marlowe, Jonson, and Fletcher. On the other, it examines the contribution of his fellow actors, including Burbage, Armin, and Kemp. Traditionally, criticism has treated these two influences in separation, so that Shakespeare is considered either in relation to educated Renaissance culture, or as a man of the theatre. Shakespeare in Company unites these perspectives. Bart van Es argues that Shakespeare's decision, in 1594, to become an investor (or 'sharer') in the newly formed Chamberlain's acting company had a transformative effect on his writing, moving him beyond the conventions of Renaissance dramaturgy. On the basis of the physical distinctiveness of his actors, Shakespeare developed 'relational drama', something no previous dramatist had explored. This book traces the evolution of that innovation, showing how Shakespeare responded to changes in the personnel of his acting fellowship and to competing drama, such as that produced for the children's companies after 1599. Covering over two decades of theatrical history, van Es explores the playwright's career through four distinct phases, ending on the conditions that shaped Shakespeare's late style. Paradoxically, Shakespeare emerges as a playwright unique 'in company'--special, in part, because of the unparalleled working conditions that he enjoyed.

London published Folio Society

This is the inside story of the Royal Shakespeare Company - a running historical critique of a major national institution and its location within British culture, as related by a writer who is uniquely placed to tell the tale. It describes what happened to a radical theatrical vision and explores British society's inability to sustain that vision. Spanning four decades and four artistic directors, Inside the Royal Shakespeare Company is a multi-layered chronicle that traces the company's history, offers investigation into its working methods, its repertoire, its people and its politics, and considers what the future holds for this bastion of high culture now in crisis. Inside the Royal Shakespeare Company is compelling reading for anyone who wishes to explore behind the scenes and consider the changing role of theatre in modern cultural life. It offers a timely analysis of the fight for creative expression within any artistic or cultural organisation, and a vital document of our times.

Focusing on a period (c.1577-1594) that is often neglected in Elizabethan theater histories, this study considers Shakespeare's involvement with the various London acting companies before his membership in the Lord Chamberlain's Men in 1594. Locating Shakespeare in the confusing records of the early London theater scene has long been one of the many unresolved problems in Shakespeare studies and is a key issue in theatre history, Shakespeare biography, and historiography. The aim in this book is to explain, analyze, and assess the competing claims about Shakespeare's pre-1594 acting company affiliations. Schoone-Jongen does not demonstrate that one particular claim is correct but provides a possible framework for Shakespeare's activities in the 1570s and 1580s, an overview of both London and provincial playing, and then offers a detailed analysis of the historical plausibility and probability of the warring claims made by biographers, ranging from the earliest sixteenth-century references to contemporary arguments. Full chapters are devoted to four specific acting companies, their activities, and a summary and critique of the arguments for Shakespeare's involvement in them (The Queen's Men, Strange's Men, Pembroke's Men, and Sussex's Men), a further chapter is dedicated to the proposition Shakespeare's first theatrical involvement was in a recusant Lancashire household, and a final chapter focuses on arguments for Shakespeare's membership in a half dozen other companies (most prominently Leicester's Men). Shakespeare's Companies simultaneously opens up twenty years of theatrical activity to inquiry and investigation while providing a critique of Shakespearean biographers and their historical methodologies.

Focusing on a period (c.1577-1594) that is often neglected in Elizabethan theater histories, this study considers Shakespeare's involvement with the various London acting companies before his membership in the Lord Chamberlain's Men in 1594. Locating Shakespeare in the confusing records of the early London theater scene has long been one of the many unresolved problems in Shakespeare studies and is a key issue in theatre history, Shakespeare biography, and historiography. The aim in this book is to explain, analyze, and assess the competing claims about Shakespeare's pre-1594 acting company affiliations. Schoone-Jongen does not demonstrate that one particular claim is correct but provides a possible framework for Shakespeare's activities in the 1570s and 1580s, an overview of both London and provincial playing, and then offers a detailed analysis of the historical plausibility and probability of the warring claims made by biographers, ranging from the earliest sixteenth-century references to contemporary arguments. Full chapters are devoted to four specific acting companies, their activities, and a summary and critique of the arguments for Shakespeare's involvement in them (The Queen's Men, Strange's Men, Pembroke's Men, and Sussex's Men), a further chapter is dedicated to the proposition Shakespeare's first theatrical involvement was in a recusant Lancashire household, and a final chapter focuses on arguments for Shakespeare's membership in a half dozen other companies (most prominently Leicester's Men). Shakespeare's Companies simultaneously opens up twenty years of theatrical activity to inquiry and investigation while providing a critique of Shakespearean biographers and their historical methodologies.

This book traces the evolution of John Barton, one of this century's most important directors, from his days as a Cambridge student and scholar through his career with the prestigious Royal Shakespeare Company. Two lengthy interviews with Barton are included, as well as a number of rare pictures of his Cambridge work and representative pictures from his Royal Shakespeare Company productions.

Knutson demystifies Shakespeare and his company by providing a clear vision of the dynamics of repertory management and play-going in Shakespeare's England.

Actor and official Royal Shakespeare Company member Keith Osborn tells the story of the company's extraordinary 2008–9 season in Stratford and London, with much drama on and off the stage. Also contains new material covering the early parts of the season, with many rehearsal and production photos taken throughout the season.

This is the fourth volume of essays by actors with the Royal Shakespeare Company. Twelve actors including Sir Derek Jacobi, Jane Lapotaire and Julian Glover describe the Shakespearian roles they played in productions between 1992 and 1997. The plays covered include The Merchant of Venice, Love's Labour's Lost, The Taming of the Shrew, The Winter's Tale, and Romeo and Juliet, among others. The essays divide equally among comedies, histories, and tragedies, with emphasis among the comedies on those notoriously difficult "clown" roles. A brief biographical note is provided for each of the contributors.

Actor and official Royal Shakespeare Company member Keith Osborn tells the story of the company's extraordinary 2008–9 season in Stratford and London, with much drama on and off the stage. Also contains new material covering the early parts of the season, with many rehearsal and production photos taken throughout the season.

This is the second volume of essays by actors with the Royal Shakespeare Company. Fourteen actors describe the Shakespearean roles they played in productions between 1982 and 1987. A brief biographical note is provided for each of the contributors and an introduction places the essays in the context of the Stratford and London stages, and of the music and design for the particular productions.

This is the third volume of essays by actors with the Royal Shakespeare Company. Thirteen actors describe the Shakespearean roles they played in productions between 1987 and 1991. The plays covered include Hamlet, Richard III, The Merchant of Venice, As You Like It, Much Ado About Nothing, Measure for Measure, and important theatrical rarities such as Cymbeline, Titus Andronicus, King John, and the Henry VI plays in the Royal Shakespeare Company's highly successful adaptation retitled The Plantagenets.