Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Introduction
- 149 Romeo and Juliet 2.1: “But soft, what light through yonder window breaks?”
- 150 A Midsummer Night’s Dream 3.2: “Lord, what fools these mortals be!”
- 151 Henry V 3.1: “Once more unto the breach”
- 152 Hamlet 3.1: “To be or not to be”
- 153 Macbeth 1.3: “king hereafter!”
- 154 Othello 1.3: “far more fair than black”
- 155 Antony and Cleopatra: Interview with Harriet Walter
- 156 King Lear 5.3: “Never, never, never, never, never”
- 157 Richard III 5.4: “My kingdom for a horse!”
- 158 The Tempest 4.1
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
149 - Romeo and Juliet 2.1: “But soft, what light through yonder window breaks?”
from Part XVI - Making the Scene
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Introduction
- 149 Romeo and Juliet 2.1: “But soft, what light through yonder window breaks?”
- 150 A Midsummer Night’s Dream 3.2: “Lord, what fools these mortals be!”
- 151 Henry V 3.1: “Once more unto the breach”
- 152 Hamlet 3.1: “To be or not to be”
- 153 Macbeth 1.3: “king hereafter!”
- 154 Othello 1.3: “far more fair than black”
- 155 Antony and Cleopatra: Interview with Harriet Walter
- 156 King Lear 5.3: “Never, never, never, never, never”
- 157 Richard III 5.4: “My kingdom for a horse!”
- 158 The Tempest 4.1
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Keywords
Annis, FrancescaAppia, AdolpheArcoreAsbury, KellyAvena, AntonioBandello, MatteoBarry, SprangerBartolini, LorenzoBolle, RobertoBoško and AdmiraBosnian Civil WarBrkić BoškoBrook, PeterBrown, Ford MadoxByron, George GordonCa’ d’OroCalarco, JoeCassell & Co.Castellani, RenatoCibber, SusannaCovent Garden TheatreCraig, Edward GordonCukor, GeorgeCurcurù, EnzoCurtain (playhouse)D’Annunzio, GabrieleDa Porto, LuigiDanes, ClareDaniel, RonDaoud, AnissaDelacroix, EugèneDench, JudiDiCaprio, LeonardoDicksee, Francis BernardDrury Lane TheatreDuke’s CompanyDuse, EleonoraEgan, ChristopherElliott, WilliamEnglish Civil WarEttore, SolimaniFarrah, AbdelFederal Theatre Negro Unit No. 2Fludd, RobertGarrick, DavidGenet, JeanGérard, RolfGielgud, Sir JohnGlobe (playhouse)Harris, MargaretHayez, FrancescoHaymarket TheatreHoward, JamesHussey, OliviaIrving, HenryIsmic, AdmiraIsraeli-Palestinian ConflictJensen, JaneKamerny, TheatrenKaufman, LloydKeenan, WillKleinert, PeterKrejča, OtomarLaChapelle, DavidLeibovitz, AnnieLiminalitiesLorca, Federico GarcíaLuhrmann, BazLyceum TheatreMadden, BillMadden, JohnManhattanMcKellen, IanMichelozzo di Bartolomeo Michelozzo (called Michelozzo)Morera, José MariáMoscowMotleyNaples Teatro StabileNapoli Teatro Festival ItaliaNero, FrancoNeruda, PabloNew Theatreno. 23 Via CappelloNunn, TrevorOld Vic TheatreOtway, ThomasPalazzo Borghese, ArtenaPepys, SamuelPergamo del Sacro Cingolo for the Duomo, PratoPoel, WilliamPrague National TheatrePritchard, HannahPueblo RevoltPyle, RobertQuinn, MarcRauschenberg, RobertRedgrave, VanessaRestoration TheatreRobbins, JeromeRomanoff and JulietRomeo Y JulietaRomey and JulieRoyal Shakespeare CompanySarajevoSchrot, PeterSelfSeyfried, AmandaShaw, Glen ByamShearer, NormaSon de negros en CubaapartheidStoppard, TomStride, JohnSud Side StoriSvoboda, JosefTairov, AlexanderTeatro alla ScalaThalberg, Irving
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 1129 - 1136Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Burnett, Mark Thornton. Filming Shakespeare in the Global Marketplace. London: Palgrave Macmillan, 2007.CrossRefGoogle Scholar
Callaghan, Dympna C. “The Ideology of Romantic Love: The Case of Romeo and Juliet.” The Weyward Sisters: Shakespeare and Feminist Politics. Ed. Callaghan, Dympna C., Helms, Lorraine, and Singh, Jyotsna. Oxford: Blackwell, 1994. 85–115.Google Scholar
Donaldson, Peter S. Shakespeare Films/Shakespearean Directors. Boston: Unwin Hyman, 1990.Google Scholar
Fowler, James. “Picturing Romeo and Juliet.” Shakespeare Survey 49 (1996): 111–30.CrossRefGoogle Scholar
Friedman, Lise, and Friedman, Ceil. Letters to Juliet: Celebrating Shakespeare’s Greatest Heroine, the Magical City of Verona, and the Power of Love. New York: Stewart, Tabori, and Chang, 2006.Google Scholar
Gurr, Andrew. “The Date and the Expected Venue of Romeo and Juliet.” Shakespeare Survey 49 (1996): 15–26.CrossRefGoogle Scholar
Kennedy, Dennis. Looking at Shakespeare: A Visual History of Twentieth-Century Performance. Cambridge: Cambridge University Press, 1996.Google Scholar
Kidnie, M. J. “‘The Way the World is Now’: Love in the Troma Zone.” Shakespeare, Film, Fin de Siècle. Ed. Burnett, Mark Thornton and Wray, Ramona. Basingstoke: Macmillan, 2000. 102–20.Google Scholar
Levenson, Jill L. Shakespeare in Performance: Romeo and Juliet. Manchester: Manchester UP, 1987.Google Scholar
Levin, Harry. “Shakespeare’s Italians.” Shakespeare’s Italy: Functions of Italian Locations in Renaissance Drama. Ed. Marrapodi, M., Hoenselaars, A. J., Cappuzzo, M., and Santucci, L. Fazon. Manchester: Manchester UP, 1993.Google Scholar
Loehlin, James N. Romeo and Juliet. Shakespeare in Production. Cambridge: Cambridge University Press, 2002.Google Scholar
Mullin, Michael. “Motley and Romeo: The Designers and the Text.” Theatre Journal 43 (1991): 457–69.CrossRefGoogle Scholar
Shakespeare, William. Romeo and Juliet: Updated Edition. Ed. Evans, G. Blakemore. Cambridge: Cambridge University Press, 2003.Google Scholar
Speaight, Robert. “The Old Vic and Stratford-upon-Avon, 1960–1961.” Shakespeare Quarterly 12.4 (1961): 425–41.CrossRefGoogle Scholar
Tempera, Mariangela. “‘Juliet Is a Slag’: Romeo and Juliet in the Italian Popular Culture.” Shakespeare in Europa. Ed. Piazza, Antonella. Naples: Cuen, 2002.Google Scholar
Yates, Frances A. “Fludd’s Memory Theatre and the Globe Theatre.” The Art of Memory. London: Routledge and Kegan Paul, 1966.Google Scholar
Further reading
Ball, Robert Hamilton. Shakespeare on Silent Film: A Strange Eventful History. London: George Allen and Unwin, 1968.Google Scholar
Derrida, Jacques. “Aphorism Countertime.” Jacques Derrida: Acts of Literature. Ed. Attridge, Derek. New York: Routledge, 1992. 414–34.Google Scholar
Leiter, Samuel L., ed. Shakespeare around the Globe: A Guide to Notable Postwar Revivals. Westport: Greenwood, 1986.Google Scholar
Ross, Charles S. “Underwater Women in Shakespeare on Film.” Shakespeare in Hollywood, Asia and Cyberspace. Ed. Huang, Alexa and Ross, Charles S.. West Lafayette: Purdue UP, 2009. 36–53.CrossRefGoogle Scholar
Watson, J. Nicola. “Shakespeare on the Tourist Trail.” Shakespeare and Popular Culture. Ed. Shaughnessy, Robert. Cambridge: Cambridge University Press, 2007. 199–226.Google Scholar
Wells, Stanley. “The Challenges of Romeo and Juliet.” Shakespeare Survey 49 (1996): 1–14.Google Scholar