ArtHistoryPsychology

Simon Palfrey, Tiffany Stern

2008.8.1ENGLISH STUDIES

DOI: 10.1080/00138380802130907

tlooto Summary

Research article explores cue interpretation and actor's part in Shakespearean performances.

Abstract

INTRODUCTION I: HISTORY 1. The Actor's Part 2. The Actors 3. Rehearsing and Performing II: INTERPRETING CUES 4. History of the Cue 5. Interpreting Shakespeare's Cues 6. Cues and Characterisation 7. Waiting and Suddenness: the Part in Time 8. Repeated Cues 9. Repeated cues: from Crowds to Clowns 10. Repeated cues: comi-tragic/tragic-comic pathos 11. Repeated cues and the battle for the cue-space: The Merchant of Venice 12. Repeated cues and tragedy 13. Repeated cues and the cue-space in King Lear 14. Repeated cues and post-tragic effects 15. Repeated Cues and the Cue-Space in The Tempest III: THE ACTOR WITH HIS PART 16. History 17. Dramatic prosody 18. Prosodic Switches: From Actor's Prompt to Absent Presence 19. Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence 20. Case studies: six romantic heroines and three lonely men

Citation format

PALFREY, Simon; STERN, Tiffany. Shakespeare in parts. ENGLISH STUDIES, 2008, 89: 496–497.