Shakespeare in the theatre: the King's Men : Lucy Munro

Created when James I granted royal patronage to the former Chamberlain’s Men in 1603, the King’s Men was the first playing company to exercise a transformative influence on Shakespeare’s plays. Shakespeare was at the heart of its activities for nearly four decades, as player, playwright and theatrical commodity, and these interconnecting versions of ‘Shakespeare’ are the subject of Shakespeare in the Theatre: The King’s Men. The book draws on theatre history, performance studies and cultural history in order to reappraise the company as theatre makers in their own right. It analyses in detail the performance practices, cultural contexts and political pressures that helped to shape and reshape Shakespeare’s plays between 1603 and 1660. Exploring questions of authority, service, commodity and collaboration that were crucial to the company’s practices, it presents case-studies of the early performance histories of some of the most enduringly popular plays – Othello, Pericles, The Tempest, The Winter’s Tale, Richard II and Henry VIII – alongside a detailed reappraisal of the repertory of the company and the place of Shakespeare’s plays within it. "Created when James I granted royal patronage to the former Chamberlain's Men in 1603, the King's Men were the first playing company to exercise a transformative influence on Shakespeare's plays. Not only did Shakespeare write his plays with them in mind, but they were also the first group to revive his plays, and the first to have them revised, either by Shakespeare himself or by other dramatists after his retirement. Drawing on theatre history, performance studies, cultural history and book history, Shakespeare in the Theatre: The King's Men reappraises the company as theatre artists, analysing in detail the performance practices, cultural contexts and political pressures that helped to shape and reshape Shakespeare's plays between 1603 and 1642. Reconsidering casting and acting styles, staging and playing venues, audience response, influence and popularity, and local, national and international politics, the book presents case-studies of performances of Macbeth , The Tempest , The Winter's Tale , Richard II , Henry VIII , Othello and Pericles alongside a broader reappraisal of the repertory of the company and the place of Shakespeare's plays within it."-- Provided by publisher

Created when James I granted royal patronage to the former Chamberlain's Men in 1603, the King's Men were the first playing company to exercise a transformative influence on Shakespeare's plays. Not only did Shakespeare write his plays with them in mind, but they were also the first group to revive his plays, and the first to have them revised, either by Shakespeare himself or by other dramatists after his retirement. Drawing on theatre history, performance studies, cultural history and book history, Shakespeare in the Theatre: The King's Men reappraises the company as theatre artists, analysing in detail the performance practices, cultural contexts and political pressures that helped to shape and reshape Shakespeare's plays between 1603 and 1642. Reconsidering casting and acting styles, staging and playing venues, audience response, influence and popularity, and local, national and international politics, the book presents case-studies of performances of Macbeth, The Tempest, The Winter's Tale, Richard II, Henry VIII, Othello and Pericles alongside a broader reappraisal of the repertory of the company and the place of Shakespeare's plays within it.

Cover Contents List of Illustrations Abbreviations and Note on the Text Acknowledgements Series Preface Preface: 1603 Prologue: Playing the Court, 1604–5 1 The Art and Faculty of Playing: The King’s Men and Their Roles Interlude: Playing the Court, 1612–13 2 Collaboration, Competition and Candlelight: Othello and The Alchemist Interlude: Playing the Court, 1619–20 3 Painful Adventures: Pericles and the ‘Traffic’ of the Stage Interlude: Playing the Court, 1633–4 4 Men, Women and Magic: Shakespeare, the Merry Devil and the Prophetess Interlude: Playing the Court, 1636–7 5 Summer Days at the Globe: Richard II, Henry VIII and the Politics of Playing Epilogue: Hamlet without the Prince, 1642–60 Appendix Notes References Index