Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-26T15:53:00.494Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  16 August 2019

William Shakespeare
Edited by
Richard Madelaine
Richard Madelaine
Affiliation:
University of New South Wales, Sydney
Get access

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.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Antony and Cleopatra , pp. 326 - 337
Publisher: Cambridge University Press
Print publication year: 1998

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Promptbooks for Productions of Antony and Cleopatra

Asche, Oscar (dir.) Theatre Royal, Melbourne and Australian tour, 1912–13. Shakespeare Centre Library.

Atkins, Robert (dir.) Stratford, 1945. Shakespeare Centre Library.

Bridges-Adams, W. (dir.) Stratford, 1931. Shakespeare Centre Library.

Brook, Peter (dir.) Stratford, 1978. Shakespeare Centre Library.

Garrick, David (dir.) Drury Lane, 1759. Folger Shakespeare Library.

Hall, Peter (dir.) National Theatre, 1987. Royal National Theatre archives.

Kemble, J. P. (dir.) Manuscript, c. 1800; never performed. Folger Shakespeare Library.

Macready, W. C. (dir.) Drury Lane, 1833. Folger Shakespeare Library.

Noble, Adrian (dir.) Stratford, 1982. Shakespeare Centre Library.

Nunn, Trevor (dir.) Stratford, 1972. Shakespeare Centre Library.

Nunn, Trevor (dir.) Aldwych revival, 1973. Shakespeare Centre Library.

Payne, Ben Iden (dir.) Stratford, 1935. Shakespeare Centre Library.

Phelps, Samuel (dir.) Sadler’s Wells, 1849. Folger Shakespeare Library.

Robertson, Toby (dir.) Prospect Theatre, 1977–8. Theatre Museum, London.

Shaw, Glen Byam (dir.) Stratford, 1953. Shakespeare Centre Library.

Films and Videotapes

Antony and Cleopatra Colour film, dir. Charlton Heston, prod. Peter Snell, Switzerland, Spain and UK, Transac, Izaro and Folio Films: 1972.

Antony and Cleopatra Colour videotape, dir. Trevor Nunn, prod. Jon Scoffield, UK, RSC and Audio-Visual Productions: 1974.

Antony and Cleopatra Colour videotape, dir./prod. Jonathan Miller, UK and USA, BBC and Time-Life TV: 1981.

Editions of Antony and Cleopatra

Anthony and Cleopatra, ed. Neill, Michael, World’s Classics, Oxford and New York, Oxford University Press: 1994.Google Scholar
Anthony and Cleopatra: a historical play, in Cumberland’s British Theatre, vol. xliv, no. 357, London, G. H. Davidson: n.d. (c. 1850).Google Scholar
Antony and Cleopatra, ed. Andrews, John F., Everyman Library, London and Vermont, J. M. Dent & Charles E. Tuttle: 1993.Google Scholar
Antony and Cleopatra, ed. Bevington, David, New Cambridge Shakespeare, Cambridge, Cambridge University Press: 1990.Google Scholar
Antony and Cleopatra, ed. Wilson, John Dover, New Shakespeare, Cambridge, Cambridge University Press: 1950.Google Scholar
Antony and Cleopatra, ed. Furness, H. H., New Variorum Edition, Philadelphia and London, J. B. Lippincott Co.: 1907.Google Scholar
Antony and Cleopatra, ed. Jones, Emrys, New Penguin Shakespeare, Harmondsworth, Penguin: 1977.Google Scholar
Antony and Cleopatra, ed. Marshall, F. A., Henry Irving Edition, London, Blackie & Son: 1889.Google Scholar
Antony and Cleopatra, ed. Ridley, M. R., Arden Shakespeare, London, Methuen: 1970 (1954).Google Scholar
Antony and Cleopatra, ed. Wilders, John, New Arden Shakespeare, London, Methuen: 1995.Google Scholar
Antony and Cleopatra 1758 (facsimile of the printed edition of the text used in Garrick’s production), introduction by Davies, H. Neville, London, Cornmarket Press: 1969.Google Scholar
Antony and Cleopatra 1813 (facsimile of the printed edition of the text used in Kemble’s production), introduction by Davies, H. Neville, London, Cornmarket Press: 1970.Google Scholar
Antony and Cleopatra, in Lacy’s Acting Edition of Plays, Drama, Farces, Extravaganzas (Calvert’s acting edition), vol. lxxv, London, Thomas Hailes Lacy: n.d. (1867).Google Scholar
Antony and Cleopatra, as arranged for the stage by H. Beerbohm Tree, London, Warrington & Co.: 1907.Google Scholar
The Play of Antony and Cleopatra, as performed for the First Time Under Mrs Langtry’s Management, at the Royal Princess’s Theatre, London, on Tuesday, 18th November, 1890, London, Leadenhall Press: n.d.Google Scholar
The Tragedy of Antony and Cleopatra. Arranged and adapted for representation by A. Halliday, London, Tinsley Brothers: 1873.Google Scholar
The Tragedy of Antony and Cleopatra: Arranged for Representation in Four Acts by Charles Calvert, Prince’s Theatre, Manchester, Edinburgh, Schenk and M’Farlane: n.d. George Beck’s copy, with annotations and a pasted-in review, Theatre Collection, New York Public Library.Google Scholar

Other Books and Articles

Adams, William Davenport. ‘Antony and Cleopatra: its Stage History’, The Theatre, NS 16 (1890), 267–71.Google Scholar
Adams, William Davenport A Book of Burlesque: sketches of English stage travestie and parody, London, Henry & Co.: 1891.Google Scholar
Agate, James. Brief Chronicles, London, Jonathan Cape: 1943.Google Scholar
Allen, Shirley S. Samuel Phelps and Sadler’s Wells Theatre, Middletown, Wesleyan University Press: 1971.Google Scholar
Anderson, James R. An Actor’s Life, Newcastle, Walter Scott: 1902.Google Scholar
Anon. A Horrible Creuel and Bloody Murther, London, 1614.Google Scholar
Anton, Robert. Philosophers Satyrs, London, 1616.Google Scholar
Archer, William. The Theatrical ‘World’ for 1893, London, Walter Scott: 1894.Google Scholar
Archer, William The Theatrical ‘World’ for 1897, London, Walter Scott: 1898.Google Scholar
Armstrong, William A. ‘Shakespeare and the Acting of Edward Alleyn’, Shakespeare Survey, 7 (1954), 82–9.Google Scholar
Armstrong, William A ‘Actors and Theatres’, Shakespeare Survey, 17 (1964), 191–204.Google Scholar
Asche, Oscar. Oscar Asche: His Life, London, Hurst & Blackett: n.d. (1929).Google Scholar
Babula, W. Shakespeare in Production, 1933–78, London, Garland: 1981.Google Scholar
Baker, Herschel. John Philip Kemble: the Actor in His Theatre, Cambridge, Mass., Harvard University Press: 1942.CrossRefGoogle Scholar
Baldwin, Thomas W. The Organization and Personnel of the Shakespearean Company, Princeton, Princeton University Press: 1927.Google Scholar
Banke, Cecile de. Shakespearean Stage Production Then and Now, London, Hutchinson: 1954.Google Scholar
Barker, Felix. The Oliviers: a Biography, London, Hamish Hamilton: 1953.Google Scholar
Barroll, J. Leeds. ‘The Chronology of Shakespeare’s Jacobean Plays and the Dating of Antony and Cleopatra’, in Essays on Shakespeare, ed. Smith, Gordon Ross, University Park and London, Pennsylvania State University Press: 1965, pp. 115–62.Google Scholar
Barroll, J. Leeds, Leggatt, Alexander, Hosley, Richard and Kernan, Alvin. The Revels History of Drama in English, vol. III, London, Methuen: 1975.Google Scholar
Barthelemy, Anthony G. Black Face Maligned Race, Baton Rouge and London, Louisiana State University Press: 1987.Google Scholar
Benson, Constance. Mainly Players, London, Thornton Butterworth: 1926.Google Scholar
Bentley, Eric. In Search of Theater, New York, Vintage Books: 1954.Google Scholar
Bentley, G. E. (ed.). The Seventeenth Century Stage, Chicago, University of Chicago Press: 1968.Google Scholar
Bentley, G. E. The Jacobean and Caroline Stage, 7 vols., Oxford, Oxford University Press: 1941–68.Google Scholar
Bevan, Ian. The Story of the Theatre Royal, Sydney, Currency Press: 1993.Google Scholar
Boaden, James. Memoirs of the Life of John Philip Kemble, Esq., 2 vols., London, Longman: 1825.Google Scholar
Bordman, Gerald. American Theatre: a Chronicle of Comedy and Drama, 1869–1914, New York and Oxford, Oxford University Press: 1994.Google Scholar
Bordman, Gerald The Oxford Companion to American Theatre, 2nd edn, New York and Oxford, Oxford University Press: 1992.Google Scholar
Brisbane, Katharine (ed.). Entertaining Australia: an Illustrated History, Sydney, Currency Press: 1991.Google Scholar
Brown, John Russell (ed.). Shakespeare: Antony and Cleopatra, Casebooks Series, revised edn, London, Macmillan: 1991.Google Scholar
Brown, T. Allston. A History of the New York Stage: From the First Performance in 1732 to 1901, 3 vols., New York, B. Blom: 1964 (1903).Google Scholar
Bullough, Geoffrey (ed.). Narrative and Dramatic Sources of Shakespeare, vol. v, London, Routlege & Kegan Paul: 1964.Google Scholar
Bulman, J. C. and Coursen, H. R. (eds.). Shakespeare on Television: an Anthology of Essays and Reviews, Hanover and London, University Press of New England: 1988.Google Scholar
Burnim, Kalman. David Garrick, Director, Pittsburgh, University of Pittsburgh Press: 1961.Google Scholar
Byrne, M. StC. ‘The Shakespeare Season’, Shakespeare Quarterly, 8 (1957), 461–76.CrossRefGoogle Scholar
Byron, George Gordon. ‘Alas! the Love of Women!’ Byron’s Letters and Journals, vol. iii, ed. Marchand, Leslie A., London, John Murray: 1974.Google Scholar
Calvert, Adelaide. Sixty-Eight Years on the Stage, London, Mills & Boon: 1911.Google Scholar
Chambers, E. K. The Elizabethan Stage, 4 vols., Oxford, Oxford University Press: 1967 (1923).Google Scholar
Clarke, Mary. Shakespeare at the Old Vic, London, Hamish Hamilton: 1957.Google Scholar
Collier, Constance. Harlequinade, London, John Lane: 1929.Google Scholar
Cook, (Edward) Dutton. Nights at the Play, 2 vols., London, Chatto & Windus: 1883.Google Scholar
Cooper, Roberta Krensky. The American Shakespeare Theater, Stratford, 1955–1988, Washington, London and Toronto, Folger Books, Associated University Presses: 1986.Google Scholar
Coryat, Thomas. Coryats Crudities … London, 1611.Google Scholar
Coursen, H. R. Shakespearean Performance as Interpretation, Newark, London and Toronto, University of Delaware Press, Associated University Presses: 1992.Google Scholar
Cross, Richard. Diary, Folger Manuscript, Folger Shakespeare Library.Google Scholar
Crosse, Gordon. Shakespearean Playgoing 1890–1952, London, A. R. Mowbray & Co.: 1953.Google Scholar
Crowl, Samuel. ‘A World Elsewhere: the Roman Plays on Film and Television’, in Shakespeare and the Moving Image: the Plays on Film and Television, ed. Davies, Anthony and Wells, Stanley, Cambridge, Cambridge University Press: 1994, pp. 146–62.Google Scholar
Crowl, Samuel Shakespeare Observed: Studies in Performance on Stage and Screen, Athens, Ohio, Ohio University Press: 1992.Google Scholar
Cunnington, C. W. and P. Handbook of English Costume in the Seventeenth Century, London, Faber: 1972.Google Scholar
Darbyshire, Alfred. The Art of the Victorian Stage: Notes and Recollections, London and Manchester, Sherratt & Hughes: 1907.Google Scholar
Darlington, W. A. Through the Fourth Wall, London, Chapman & Hall: 1922.Google Scholar
Davies, H. Neville. ‘Jacobean Antony and Cleopatra’, Shakespeare Studies, 17 (1985), 123–58.Google Scholar
Davies, Thomas. Dramatic Miscellanies, 3 vols., New York, Benjamin Blom: 1971 (London, 1784).Google Scholar
Davies, Thomas Memoirs of the Life of David Garrick, Esq., 2 vols., London, 1780.Google Scholar
Davies, W. Robertson. Shakespeare’s Boy Actors, London, Dent: 1939.Google Scholar
Dawson, R. Mac G.. ‘But Why Enobarbus?’, Notes and Queries, NS 34 (1987), 216–17.Google Scholar
Dessen, A. C. ‘The Image and the Script: Shakespeare on Stage in 1993’, Shakespeare Bulletin, 12 (1) (1994), 5–8.Google Scholar
Dickens, Charles. Letters, ed. Dexter, Walter, 3 vols., Bloomsbury, Nonesuch Press: 1938.Google Scholar
Downer, Alan S. The Eminent Tragedian: William Charles Macready, Cambridge, Mass., Harvard University Press, 1966.CrossRefGoogle Scholar
Downer, Alan S. ‘Prolegomenon to a Study of Elizabethan Acting’, Maske und Kothurn, 10 (1965), 625–36.Google Scholar
Downes, John. Roscius Anglic anus, ed. Summers, Montague, London, Fortune Press: 1928.Google Scholar
Dryden, John. Works, gen. ed. Roper, Alan, vol. xiii, ed. Novak, Maximillian E., Berkeley, Los Angeles and London, University of California Press: 1984.Google Scholar
Dusinberre, Juliet. ‘Squeaking Cleopatras: Gender and Performance in Antony and Cleopatra’, in Shakespeare, Theory, and Performance, ed. Bulman, James C., London and New York, Routledge: 1996, pp. 46–67.CrossRefGoogle Scholar
Ellis, Ruth. The Shakespeare Memorial Theatre, London, Winchester Publications: 1948.Google Scholar
Elsom, John. Post-War British Theatre, London, Routledge & Kegan Paul: 1976.Google Scholar
Farjeon, Herbert. The Shakespearean Scene, London, Hutchinson: n.d. (1949).Google Scholar
Fluchère, Henri. ‘Shakespeare in France: 1900–1948’, Shakespeare Survey, 2 (1949), 115–25.Google Scholar
Foucault, Michel. Discipline and Punish, trans. Sheridan, A., London, Allen Lane: 1977.Google Scholar
Foulkes, Richard (ed.). Shakespeare and the Victorian Stage, Cambridge, Cambridge University Press: 1986.Google Scholar
Garrick, David. The Letters, ed. Little, D. M. and Kahrl, G. M., Cambridge, Mass., Harvard University Press: 1963.Google Scholar
Geckle, George L. ‘The Power of Desire on Stage: Stratford-upon-Avon, Fall 1992’, Shakespeare Bulletin, 2 (2) (1993), 15–16.Google Scholar
Genest, John. Some Account of the English Stage from the Restoration in 1660 to 1830, 10 vols., New York, Burt Franklin: n.d. (Bath, 1832).Google Scholar
Gielgud, John. Early Stages, London, Macmillan: 1939.Google Scholar
Gilder, Rosamond. ‘Shakespeare in New York: 1947–48’, Shakespeare Survey, 2 (1949), 130–1.Google Scholar
Granville-Barker, Harley. Prefaces to Shakespeare: Second Series, London, Sidgwick & Jackson: 1930.Google Scholar
Greville, Fulke. The Prose Works, ed. Gouws, John, Oxford, Oxford University Press: 1986.Google Scholar
Gurr, Andrew. The Shakespearean Stage 1574–1642, 3rd edn, Cambridge, Cambridge University Press: 1992.Google Scholar
Hamer, Mary. Signs of Cleopatra: History, Politics, Representation, London and New York, Routledge: 1993.Google Scholar
Hankey, Julie. ‘Body Language, the Idea of the Actress, and Some Nineteenth-Century Actress-Heroines’, New Theatre Quarterly, 8 (1992), 226–40.CrossRefGoogle Scholar
Hankey, Julie ‘Helen Faucit and Shakespeare: Womanly Theater’, in Cross-Cultural Performances: Differences in Women’s Re-visions of Shakespeare, ed. Novy, Marianne, Urbana and Chicago, University of Illinois Press: 1993, pp. 50–69.Google Scholar
Hart, A. ‘The Length of Elizabethan and Jacobean Plays’, RES, 8 (1932), 139–54.Google Scholar
Hattaway, Michael. Elizabethan Popular Theatre: Plays in Performance, London, Boston, Melbourne and Henley, Routledge & Kegan Paul: 1982.Google Scholar
Heales, Robyn and Bartholomeusz, Dennis. ‘Shakespeare in Sydney and Melbourne’, Shakespeare Quarterly, 35 (1984), 479–84.CrossRefGoogle Scholar
H(eraud), J. A. ‘Memoir of Miss Glyn’, prefaced to Webster’s The Duchess of Malfi, London, 1851.Google Scholar
Hill, John (attrib.) A letter to the Hon. Author of the New Farce, called The Rout … With an Appendix; containing: Some Remarks upon the new-revived Play of Antony and Cleopatra, London, 1759.Google Scholar
Hobson, Harold. Theatre 2, London, New York, Toronto, Longmans Green: 1950.Google Scholar
Hogan, Charles B. Shakespeare in the Theatre 1701–1800, Oxford, Clarendon Press: 1957.Google Scholar
Holmes, Martin. ‘A Regency Cleopatra’, Theatre Notebook, 8 (1954), 46–7.Google Scholar
Holmes, Martin Shakespeare and Burbage, London and Chichester, Phillimore: 1978.Google Scholar
Howe, Elizabeth. The First English Actresses: Women and Drama, 1660–1700, Cambridge, Cambridge University Press: 1992.Google Scholar
Hughes-Hallett, Lucy. Cleopatra: Histories, Dreams and Distortions, London, Bloomsbury: 1990.Google Scholar
Hughes-Hallett, Lucy ‘The Riddle of the Minx’, Harpers and Queen (January 1990), 38.Google Scholar
Humbert, Jean-Marcel, Pantazzi, Michael and Ziegler, Christiane. Egyptomania: Egypt in Western Art, 1730–1930, Paris and Ottowa, Réunion des Musées Nationaux & National Gallery of Canada: 1994.Google Scholar
Hunt, Albert and Reeves, Geoffrey. Peter Brook, Directors in Perspective, Cambridge, Cambridge University Press: 1995.Google Scholar
Irvin, Eric. Dictionary of Australian Theatre, 1788–1914, Sydney, Hale & Iremonger: 1985.Google Scholar
Jameson, Anna. Characteristics of Women, 2 vols., London, 1858.Google Scholar
Johnson, Samuel. Prose and Poetry, ed. Wilson, Mona, London, Rupert Hart-Davis: 1963.Google Scholar
Kemp, T. C. and Trewin, J. C. The Stratford Festival: a History of the Shakespeare Memorial Theatre, Birmingham, Cornish Brothers: 1953.Google Scholar
Kennedy, Dennis (ed.). Foreign Shakespeare: Contemporary Performance, Cambridge, Cambridge University Press: 1993.Google Scholar
Kerr, Walter. Thirty Plays Hath November: Pain and Pleasure in the Contemporary Theater, New York, Simon & Schuster: 1969.Google Scholar
Klein, David. ‘Did Shakespeare Produce His Own Plays?’, MLR, 57 (1962), 556–60.CrossRefGoogle Scholar
Knight, Joseph. Introduction to Antony and Cleopatra, ed. Marshall, E A., Irving, Henry edition, London, Blackie & Son: 1889.Google Scholar
Knutson, Roslyn Lander. The Repertory of Shakespeare’s Company 1594–1613, Fayetteville, University of Arkansas Press: 1991.Google Scholar
Kott, Jan. Shakespeare Our Contemporary, Garden City, NY, Anchor Books: 1964.Google Scholar
Lamb, Margaret. ‘Antony and Cleopatra’ on the English Stage, Rutherford, Madison, Teaneck, London and Toronto, Fairleigh Dickinson University Press, Associated University Presses: 1980.Google Scholar
Langtry, Lillie. The Days I Knew, New York, George H. Doran Co.: 1925.Google Scholar
Leech, Clifford. ‘Stratford 1953’, Shakespeare Quarterly, 4 (1953), 461–6.CrossRefGoogle Scholar
Leiter, Samuel L. (editor-in-chief) and Hill, Holly (assoc. ed.). The Encyclopedia of the New York Stage, 1920–1930, 2 vols., Westport, Conn, and London, Greenwood Press: 1985.Google Scholar
Leiter, Samuel L. The Encyclopedia of the New York Stage, 1930–1940, New York, Westport, Conn. and London, Greenwood Press: 1989.Google Scholar
Leiter, Samuel L. (ed.). Shakespeare Around the Globe: a Guide to Notable Postwar Revivals, New York, Westport, Conn, and London, Greenwood Press: 1986.Google Scholar
Levi, P. The Life and Times of William Shakespeare, London, Macmillan: 1988.Google Scholar
Lowen, Tirzah. Peter Hall Directs ‘Antony and Cleopatra’, London, Methuen Drama: 1990.Google Scholar
MacLíammóir, Micheál. ‘Three Shakespearian Productions: A Conversation’, Shakespeare Survey, 1 (1948), 89–97.Google Scholar
Macready, William Charles. The Diaries, 1833–1831, vol. i, ed. Toynbee, William, New York, Putnam’s Sons: 1912.Google Scholar
Male, David A. Shakespeare on Stage: ‘Antony and Cleopatra’, Cambridge, Cambridge University Press: 1984.Google Scholar
Mares, F. H. ‘Shifting Perspectives in the Sexual Politics of Antony and Cleopatra’, Studies in Shakespeare 1: the Proceedings of the Australian and New Zealand Shakespeare Association, 1990, ed. Bartholomeusz, D., Clayton, ANZSA: 1991, pp. 57–79.Google Scholar
Marston, John. The Works, ed. Bullen, A. H., 3 vols., London, John C. Nimmo: 1887.Google Scholar
Marston, Westland. Our Recent Actors, London, Sampson, Low, Marston: 1890.Google Scholar
Mazer, Cary M. Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages, Ann Arbor, UMI Research Press: 1981.Google Scholar
McGuire, Paul, Arnott, Betty and McGuire, Frances M. The Australian Theatre: an Abstract and Brief Chronicle in Twelve Parts, Melbourne and London, Oxford University Press: 1948.Google Scholar
Merchant, W. M. Shakespeare and the Artist, London and New York, Oxford University Press: 1959.Google Scholar
van der Merwe, Pieter. ‘Roberts and the Theatre’, in David Roberts, ed. Guiterman, Helen and Llewellyn, Briony, London, Phaidon & Barbican Art Gallery: 1986, pp. 27–44.Google Scholar
Miller, Edward. That Noble Cabinet: a History of the British Museum, London, Andre Deutsch: 1973.Google Scholar
Mullin, Donald (ed.). Victorian Actors and Actresses in Review, Westport, Conn, and London, Greenwood Press: 1983.Google Scholar
Neale, J. E. Queen Elizabeth, London, Jonathan Cape: 1944 (1934).Google Scholar
Nelsen, Paul. ‘Sizing Up the Globe: Proposed Revisions to the ISGC Reconstruction’, Shakespeare Bulletin, 2 (4) (1993), 11.Google Scholar
Nicoll, J. R. A. “‘Passing over the Stage”’, Shakespeare Survey, 12 (1959), 47–55.CrossRefGoogle Scholar
Nungezer, Edwin. A Dictionary of Actors, New York, Greenwood Press: 1968 (1929).Google Scholar
Odell, George C. D. Annals of the New York Stage, 15 vols., New York, Columbia University Press: 1927–49.Google Scholar
Odell, George C. D. Shakespeare – From Betterton to Irving, 2 vols., London, Constable: 1963 (1920).Google Scholar
Olivier, Laurence. On Acting, London, Weidenfeld & Nicolson: 1986.Google Scholar
Pearson, Hesketh. Beerbohm Tree: His Life and Laughter, London, Methuen: 1956.Google Scholar
Phelps, W. May and Robertson, John Forbes. The Life and Life-Work of Samuel Phelps, London, Sampson, Low, Marston, Searle & Rivington: 1880.Google Scholar
Pitt, Angela. Shakespeare’s Women, Newton Abbot and Totowa, NJ, David & Charles and Barnes & Noble: n.d. (1981).Google Scholar
Redgrave, Michael. Actor, London, Heinemann: 1956.Google Scholar
Rees, Joan. ‘An Elizabethan Eyewitness of Antony and Cleopatra?’, Shakespeare Survey, 6 (1953), 91–3.Google Scholar
Ripa, Cesare. Iconologia, Rome, 1603.Google Scholar
Robinson, Alice M., Roberts, Vera Mowry and Barranger, Milly S. Notable Women in the American Theater: a Biographical Dictionary, New York, Westport, Conn, and London, Greenwood Press: 1989.Google Scholar
Rosenfeld, Sybil. A Short History of Scene Design in Great Britain, Oxford, Basil Blackwell: 1975.Google Scholar
Rutter, Carol C. (ed.). Documents of the Rose Playhouse, Revels Plays Companion Library, Manchester, Manchester University Press: 1984.Google Scholar
Rylands, George. ‘Elizabethan Drama in the West End’, Shakespeare Survey, 1 (1948), 103–5.Google Scholar
Rylands, George ‘Festival Shakespeare in the West End’, Shakespeare Survey, 6 (1953), 140–5.Google Scholar
Salgado, Gamini. Eyewitnesses of Shakespeare: First Hand Accounts of Performances 1590–1890, London, Chatto and Windus for Sussex University Press: 1975.Google Scholar
Scott, Michael. Antony and Cleopatra, Text and Performance, London, Macmillan: 1983.CrossRefGoogle Scholar
Shakespeare, William. Hamlet, ed. Edwards, Philip, New Cambridge Shakespeare, Cambridge, Cambridge University Press: 1985.Google Scholar
Shakespeare, William King Lear, ed. Bratton, J. S., Plays in Performance, Bristol, Bristol Classical Press: 1987.Google Scholar
Shakespeare, William King Lear, ed. Halio, Jay L., New Cambridge Shakespeare, Cambridge, Cambridge University Press: 1992.Google Scholar
Shakespeare, William Othello, ed. Hankey, Julie, Plays in Performance, Bristol, Bristol Classical Press: 1987.Google Scholar
Shakespeare, William Titus Andronicus, ed. Hughes, Alan, New Cambridge Shakespeare, Cambridge, Cambridge University Press: 1994.Google Scholar
Shakespeare, William The Riverside Shakespeare, ed. Evans, G. Blakemore et al., Boston, Houghton Mifflin: 1974.Google Scholar
Shattuck, Charles H. Shakespeare on the American Stage, 2 vols., Washington, Folger Shakespeare Library: 1976 (vol.i), Washington, London and Toronto, Folger Shakespeare Library & Associated University Presses: 1987 (vol.ii).Google Scholar
Shattuck, Charles H. The Shakespeare Promptbooks: a Descriptive Catalogue, Urbana and London, University of Illinois Press: 1965.Google Scholar
Shaw, George Bernard. Plays and Players, ed. Ward, A. C., London, Oxford University Press: 1952.Google Scholar
Shaw, George Bernard. Three Plays for Puritans, London, Grant Richards: 1901.Google Scholar
Shrimpton, Nicholas. ‘Shakespeare Performances in Stratford-upon-Avon and London, 1982–3’, Shakespeare Survey, 37 (1984), 163–73.Google Scholar
Speaight, Robert. Shakespeare on the Stage, London, Collins: 1973.Google Scholar
Sprague, A. C. Shakespeare and the Actors: the Stage Business in His Plays (1660–1905), Cambridge, Mass., Harvard University Press: 1944.CrossRefGoogle Scholar
Sprague, A. C. Shakespearian Players and Performances, London, A.&C. Black: 1954.Google Scholar
Sprague, A. C. and Trewin, J. C. Shakespeare’s Plays Today: Some Customs and Conventions of the Stage, London, Sidgwick and Jackson: 1970.Google Scholar
Sprinchorn, Evert. ‘An Intermediate Level in the Elizabethan Theatre’, Theatre Notebook, 46 (1992), 73–94, and Theatre Notebook, 48 (1994), 51–2.Google Scholar
Stephen, Leslie, Lee, Sidney et al. (eds.). The Dictionary of National Biography, with Supplements to 1950, 26 vols., London, Oxford University Press: 1912–59.Google Scholar
Steppat, Michael. The Critical Reception of Shakespeare’s ‘Antony and Cleopatra’ from 1607 to 1905, Amsterdam, Gruner: 1980.Google Scholar
Stirling, Edward. Old Drury Lane: Fifty Years’ Recollections, 2 vols., London, Chatto & Windus: 1881.Google Scholar
Stokes, John, Booth, Michael R. and Bassnett, Susan. Bernhardt, Terry, Duse: the Actress in Her Time, Cambridge, Cambridge University Press: 1988.Google Scholar
Stone, George W. Jr. ‘Garrick’s Presentation of Antony and Cleopatra’, RES, 13 (1937), 20–38.Google Scholar
Stone, George W. The London Stage, 1660–1800, Part 4 (1747–1776), Carbondale, University of Southern Illinois Press: 1962.Google Scholar
Sturgess, Keith. Jacobean Private Theatre, London and New York, Routledge & Kegan Paul: 1987.Google Scholar
Taylor, George. Players and Performances in the Victorian Theatre, Manchester, Manchester University Press: 1989.Google Scholar
Thomson, Peter. ‘No Rome of Safety: the Royal Shakespeare Season 1972’, Shakespeare Survey, 26 (1973), 139–50.CrossRefGoogle Scholar
Thomson, Leslie. ‘Antony and Cleopatra, Act 4 Scene 16, “A heavy sight”’, Shakespeare Survey, 41 (1989), 79–90.Google Scholar
Towse, John Ranken. Sixty Years of the Theater: an Old Critic’s Memories, New York and London, Funk & Wagnalls Co.: 1916.Google Scholar
Trewin, J. C. Benson and the Bensonians, London, Barrie & Rockliff: 1960.Google Scholar
Trewin, J. C. Going to Shakespeare, London, Boston and Sydney, George Allen & Unwin: 1978.Google Scholar
Trewin, J. C. Mr Macready: a Nineteenth-century Tragedian and His Theatre, London, George G. Harrap: 1955.Google Scholar
Trewin, J. C. The Night Has Been Unruly, London, Robert Hale: 1957.Google Scholar
Trewin, J. C. A Play To-night, London, Elek: 1952.Google Scholar
Trewin, J. C. Shakespeare on the English Stage, 1900–1964, London, Barrie & Rockliff: 1964.Google Scholar
Trewin, J. C. ‘Shakespeare in Britain’, Shakespeare Quarterly, 29 (1978), 212–22.CrossRefGoogle Scholar
Trewin, J. C. ‘Shakespeare in Britain’, Shakespeare Quarterly, 31 (1980), 153–61.CrossRefGoogle Scholar
Tynan, Kenneth. A View of the English Stage, 1944–63, London, Davis-Poynter: 1975.Google Scholar
Venezky, Alice. ‘Current Shakespearian Productions in England and France’, Shakespeare Quarterly, 2 (1951), 335–42.CrossRefGoogle Scholar
Walkley, Arthur B. Playhouse Impressions, London, T. Fisher Unwin: 1892.Google Scholar
Warren, Roger. ‘Shakespeare in England, 1982–83’, Shakespeare Quarterly, 34 (1983), 336–7.Google Scholar
Watson, G. ‘The Death of Cleopatra’, Notes and Queries, NS 25 (1978), 409–14.Google Scholar
Webster, John. The Duchess of Malfi, facsimile of 1623 Quarto, Menston, Scolar Press: 1968.Google Scholar
Wiggins, Martin. ‘An Early Misinterpretation of Antony and Cleopatra’, Notes and Queries, NS 35 (1988), 483–4.CrossRefGoogle Scholar
Wiles, David. Shakespeare’s Clown, Cambridge, Cambridge University Press: 1987.CrossRefGoogle Scholar
Williams, Harcourt. Old Vic Saga, London, Winchester Publications: 1949.Google Scholar
Williams, Harcourt Four Years at the Old Vic, 1929–1933, London, Putnam & Co.: 1935.Google Scholar
Williams, Neville. The Life and Times of Elizabeth I, London, Sphere Books: 1975.Google Scholar
Winter, William. Shakespeare on the Stage: Third Series, New York and London, Benjamin Blom: 1969 (1916).Google Scholar
Wolfit, Donald. First Interval, London, Odhams: 1954.Google Scholar
Young, C. B. ‘The Stage-History of Antony and Cleopatra’, in Antony and Cleopatra, ed. Wilson, John Dover, New Shakespeare, Cambridge, Cambridge University Press: 1950, pp. xxxvii–xlvi.Google Scholar
Young, William C. Famous Actors and Actresses on the American Stage: Documents of American Theater History, 2 vols., New York and London, R. R. Bowker Co.: 1975.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×