The Elizabethan Theatre and "The Book of Sir Thomas More''

The manuscript of the Elizabethan play Sir Thomas More has intrigued scholars for over a century because three of its pages may have been written by Shakespeare. The Elizabethan Theatre and "The Book of Sir Thomas More" sets aside the timeworn question of authorship and considers the play in a new framework, one which by focusing on questions of the theatre attempts to free Elizabethan theatre history from the grip of its most famous author. Bringing to bear on the manuscript the perspective of a theatre historian and the resources of textual scholarship, Scott McMillin departs from most critical accounts, which have judged Sir Thomas More unfinished. Rather, McMillin addresses the manuscript as a coherent and finished work that achieves its intended purpose: to serve as a prompt book in the Elizabethan playhouse. His systematic analysis of the Sir Thomas More manuscript shows that the company for which it was written was unusually large, that it had a lead actor of outstanding capability, and that in its staging of the play it probably made use of visual repetition as an ironic device. He concludes that the theatre company of the period that most closely matched this description was Lord Strange's men, a company, incidentally, for which Shakespeare himself was known to have written in the early 1590s.Textual scholars, theatre historians, and students and scholars of Elizabethan drama will welcome The Elizabethan Theatre and "The Book of Sir Thomas More."

Michael C. Webb explores a central question about postwar economic history: how has the growth of international markets affected the coordination of economic policy among nations? His analysis overturns the popular assumption that policy coordination has eroded as American hegemony has receded. Instead, he argues that the growing mobility of capital forced governments to abandon the strategies they had used in the 1950s and 60s to insulate monetary and fiscal policies from international influences, and to move toward more direct coordination of central economic strategies.

Webb shows that since 1945 there has been a crucial shift in the pattern of international collaboration. He focuses on three types of adjustment policy: trade and capital controls, balance-of-payment lending and intervention in foreign-exchange markets, and monetary and fiscal policies. Noting that the first two types are no longer effective, he demonstrates that governments now rely more on monetary and fiscal policy coordination to regulate the global economy.

As the expansion of international finance created greater turbulence in the global economy in the 1980s, the liberal system of international trade threatened to collapse. Webb examines in particular how the United States, Japan, and Germany took unprecedented steps to coordinate monetary and fiscal policies in the late 1980s and early 1990s, although domestic political obstacles—not any decline in U.S. power—limited the impact of this policy coordination. He concludes by assessing the effectiveness of these attempts to reconcile the goal of a stronger liberal system of economic exchange with the desire to maintain national autonomy.

Contents Preface 1. Locations 2. Parts For Actors: Casting The Play 3. The Original Play: Acting Company And Date 4. The Revised Play: Acting Company And Date 5.Staging The Play 6.Staging At The Rose 7.Hand D Appendix Minimum Casting Charts Index