Acting from Shakespeare's First Folio

'Original' Shakespearean theatrical architecture, texts and performance methodologies have become subjects of great popular, professional and academic theatrical interest. "Acting from Shakespeare's First Folio: Theory, Text & Performance" examines a series of techniques for reading and performing Shakespeare's plays that are based on the texts of the first 'complete' volume of Shakespeare's works: "The First Folio" of 1623. Do extra syllables in a line suggest how it might be played? Can Folio commas reveal character? Don Weingust places this work on Folio performance possibility within current understandings about Shakespearean text, describing ways in which these challenging theories about acting often align quite nicely with the work of the theories' critics. As part of this study, Weingust looks at the work of Patrick Tucker and his London-based Original Shakespeare Company, who have sought to discover the opportunities in using First Folio texts, acting techniques, and what they consider to be original Shakespearean performance methodologies. Weingust argues that their experimental performances at the Globe on Bankside have revealed enhanced possibilities not only for performing Shakespeare, but for theatrical practice in general.

ISBN 0415979161   Pages 240 ISBN13 9780415979160 (What's this?)   Volumes 1 Publisher Taylor & Francis Ltd   Weight (grammes) 299 Imprint Routledge   Published in London Format Paperback   Height (mm) 138 Publication date 20 Sep 2006   Width (mm) 216 Library of Congress 2006011129   Spine width (mm) 13 DEWEY 792.028   Academic level Undergraduate, Postgraduate, Professional / Scholarly DEWEY edition DC22

1		First Folio acting techniques : Richard Flatter, Neil Freeman and Patrick Tucker		1
2		First Folio techniques and the death of the bibliographer		78
3		First Folio techniques in performance : the Original Shakespeare Company and the International Shakespeare's Globe Center		137

'Acting from Shakespeare's First Folio is essential reading for anyone interested in the transmission of his plays from the 17th to the 21st century and the problem of staging "authentic" performances.' British Theatre Guide

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