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
- 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
- Introduction
- 212 1 Henry IV: Playhouse Beginnings
- 213 King Lear from the Restoration to the Nineteenth Century
- 214 Hamlet and the Actors: Restoration to Victorian Players
- 215 Henry V: Victorian Stagings
- 216 Romeo and Juliet: Victorian Actresses
- 217 The Tempest: The Design of Prospero’s Island, 1930s–1980s
- 218 Titus Andronicus: Stage and Screen after 1955
- 219 The Taming of the Shrew: Katherina Onstage from the 1970s to the 1990s
- 220 Julius Caesar: Stage Interpretations from the 1970s to the 1990s
- 221 Much Ado about Nothing: Performance History Onstage and in Film, 1980s–1990s
- 222 Macbeth, Three Influential Late Twentieth-Century Productions: Kurosawa, Polanski, Ninagawa
- 223 Measure for Measure: Stage, Film, and Television Productions at the Turn of the Twenty-First Century
- 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
216 - Romeo and Juliet: Victorian Actresses
from Part XXII - Production History
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
- 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
- Introduction
- 212 1 Henry IV: Playhouse Beginnings
- 213 King Lear from the Restoration to the Nineteenth Century
- 214 Hamlet and the Actors: Restoration to Victorian Players
- 215 Henry V: Victorian Stagings
- 216 Romeo and Juliet: Victorian Actresses
- 217 The Tempest: The Design of Prospero’s Island, 1930s–1980s
- 218 Titus Andronicus: Stage and Screen after 1955
- 219 The Taming of the Shrew: Katherina Onstage from the 1970s to the 1990s
- 220 Julius Caesar: Stage Interpretations from the 1970s to the 1990s
- 221 Much Ado about Nothing: Performance History Onstage and in Film, 1980s–1990s
- 222 Macbeth, Three Influential Late Twentieth-Century Productions: Kurosawa, Polanski, Ninagawa
- 223 Measure for Measure: Stage, Film, and Television Productions at the Turn of the Twenty-First Century
- 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
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 1575 - 1580Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Cole, John William. The Life and Theatrical Times of Charles Kean, F.S.A. 2 vols. London: Richard Bentley, 1859.Google Scholar
Fletcher, George. Studies of Shakespeare. London: Longman, Brown, Green and Longmans, 1847.Google Scholar
Macready, William. Macready’s Reminiscences and Selections from His Diaries and Letters. Ed. Pollock, Frederick. 2 vols. New York: Harper and Brothers, 1875.Google Scholar
Martin, Helena Faucit. Shakespeare’s Female Characters. London: W. Blackwood and Sons, 1885.Google Scholar
Marshall, Gail. Actresses on the Victorian Stage. Cambridge: Cambridge University Press, 1998.Google Scholar
Odell, George C. D. Shakespeare from Betterton to Irving. 2 vols. New York: Scribner, 1920.Google Scholar
Powell, Kerry. Women and Victorian Theatre. Cambridge: Cambridge University Press, 1997.CrossRefGoogle Scholar
Further reading
Gay, Penny. “Women and Shakespearean Performance.” The Cambridge Companion to Shakespeare on Stage. Ed. Wells, Stanley and Stanton, Sarah. Cambridge: Cambridge University Press, 2006. 156–75.Google Scholar
Loehlin, James. Romeo and Juliet: Shakespeare in Production. Cambridge: Cambridge University Press, 2002.Google Scholar