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
156 - King Lear 5.3: “Never, never, never, never, never”
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
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 1165 - 1171Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Coveney, Michael. “King Lear.” The Stage. 8 December 2010. https://www.thestage.co.uk/reviews/2010/king-lear-review-at-donmar-warehouse-london.Google Scholar
Foakes, R. A. Hamlet versus Lear: Cultural Politics and Shakespeare’s Art. Cambridge: Cambridge University Press, 1993.CrossRefGoogle Scholar
Halio, Jay L. The Tragedy of King Lear. The New Cambridge Shakespeare. Cambridge: Cambridge University Press, 2005.Google Scholar
Hira, Mikijiro. Production Programme for King Lear. Saitama: Saitama Arts Theater, January 2007.Google Scholar
Huang, Alexa. “Wu Hsing-kuo: Excerpt from an Interview.” Ziteng lu, Taipei. 15 March 2004. Global Shakespeares. http://globalshakespeares.org/interview/excerpt-of-an-interview-with-wu-hsing-kuo.Google Scholar
Kurita, Yoshihiro. Personal interview by Kobayashi Kaori. 30 August 2008. Tokyo: Owl Spot.Google Scholar
Leggatt, Alexander. King Lear. 2nd ed. Shakespeare in Performance. Manchester: Manchester UP, 2004.Google Scholar
McKinnie, Michael. “Liberal Shakespeare and Liberal Critiques: Necessary Angel’s King Lear.” Shakespeare in Canada. Ed. Brydon, Diane and Makaryk, Irene R.. Toronto: U of Toronto P, 2002. 212–30.Google Scholar
Nightingale, Benedict. “King Lear.” The Times (London) 1 June 2007. http://www.thetimes.co.uk/tto/arts/stage/theatre/article1868072.ece.Google Scholar
Smallwood, Robert. “Shakespeare Performances in England.” Shakespeare Survey 51 (1998): 219–56.CrossRefGoogle Scholar
Wells, Stanley. “Introduction.” The History of King Lear. The Oxford Shakespeare.Oxford: Oxford UP, 2000. 1–80.Google Scholar
Yang, Jung-Ung. Personal interview with Kobayashi Kaori. 16 June 2007. Seoul: Performing Art Centre.Google Scholar
Further reading
Barucha, Rustom. “Consumed in Singapore: The Intercultural Spectacle of Lear.” Theatre 31.1 (2001): 107–27.Google Scholar
Huang, Alexa. Chinese Shakespeares: Two Centuries of Cultural Exchange. New York: Columbia UP, 2009.Google Scholar
Kennedy, Dennis, and Yong, Li Lan, eds. Shakespeare in Asia: Contemporary Performance. Cambridge: Cambridge University Press, 2009.Google Scholar
Minami, Ryuta, Carruthers, Ian, and Gillies, John, eds. Performing Shakespeare in Japan. Cambridge: Cambridge University Press, 2001.Google Scholar
Shakespeare Performance in Asia. http://web.mit.edu/shakespeare/asia/.Google Scholar
Several DVDs of King Lear are now available: dir. Nunn, Trevor (Royal Shakespeare Company, 2009); dir. Ninagawa, Yukio (Horipuro, 2008); dir. Eyre, Richard (Royal National Theatre, 2004); The Heart of the King, dir. Amamiya, Nozomi (Bap, 2008).Google Scholar
Several streaming videos of King Lear, with English, Japanese, and Chinese subtitles and detailed production data, are available on A|S|I|A, http://a-s-i-a-web.org/: Lear Is Here, dir. Wu, Hsing-Kuo (Contemporary Legend Theatre, 2001); King Lear, dir. Kurita, Yoshihiro (Niigata City Performing Arts Centre “Ryutopia”, 2004–05); King Uru, dir. Kim, Myung-Gon (National Theatre of Korea, 2000–04); Lear, dir. Ong, Keng Sen (The Japan Foundation, 1997).Google Scholar
Detailed information and various reviews of the productions of King Lear can be accessed electronically: Trevor Nunn’s production of King Lear at http://www.mckellen.com/stage/lear07/; Michael Grandage’s at http://www.theatermania.com/london/news/12-2010/review-roundup-derek-jacobi-opens-in-king-lear-at_32621.html; and Tadashi Suzuki’s at http://www.scot-suzukicompany.com/en/.Google Scholar