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
- 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
- Introduction
- 267 Shakespeare on Air I: Early British Radio and Radio Audiences
- 268 Shakespeare on Air II: The Golden Age of US Radio
- 269 Shakespeare and Audio Recording
- 270 TV and Early TV Audiences in Europe and the United States
- 271 Film and Film Audiences
- 272 World Cinema
- 273 Plays-within-the-Film
- 274 Shakespeare Documentaries
- 275 The Sonnets Onscreen
- 276 Shakespeare and Animation
- 277 Shakespeare and Online Video
- Index
- References
267 - Shakespeare on Air I: Early British Radio and Radio Audiences
from Part XXVIII - Shakespeare and Media History
Published online by Cambridge University Press: 17 August 2019
Edited by
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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
- 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
- Introduction
- 267 Shakespeare on Air I: Early British Radio and Radio Audiences
- 268 Shakespeare on Air II: The Golden Age of US Radio
- 269 Shakespeare and Audio Recording
- 270 TV and Early TV Audiences in Europe and the United States
- 271 Film and Film Audiences
- 272 World Cinema
- 273 Plays-within-the-Film
- 274 Shakespeare Documentaries
- 275 The Sonnets Onscreen
- 276 Shakespeare and Animation
- 277 Shakespeare and Online Video
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 1918 - 1922Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
“Broadcast Drama.” Rev. of “The Tragedy of Othello, The Moor of Venice.” Adapt. Creswell, Peter. BBC National Programme, 6 October 1933. The Times [London] 9 October 1933: 12.Google Scholar
Church, R. “Shakespeare Still Unbeaten – As the World’s Greatest Radio-Dramatist.” Radio Times 20 September 1929: 592.Google Scholar
Farjeon, Herbert. “Othello Was a Black Man.” Rev. of “The Tragedy of Othello, The Moor of Venice.” Adapt. Peter Creswell. BBC National Programme, 6 October 1933. Radio Times 6 October 1933: 9.Google Scholar
Folkerth, Wes. “Shakespeare and Audio Recording.”The Cambridge Guide to the World of Shakespeare. Gen. ed. Smith, Bruce. Cambridge: Cambridge University Press, 2015.Google Scholar
Gielgud, Val. Untitled Memorandum. 13 January 1933. BBC Written Archives. Accession no. 7845. TS.Google Scholar
“King Henry the Fourth.” Dir. Burrell, John. BBC Home Service. In eight parts, 31 May through 19 July 1945. Radio.Google Scholar
“Shakespeare Wrote the Best Broadcast Plays – Because He Was His Own Scenic Artist, says ‘L. Du G.’” Radio Times 24 June 1927: 543.Google Scholar
Strong, L. A. G. “The Tempest.” Rev. of “The Tempest.” Adapt. Gielgud, Val and Harding, E. A.. BBC National Programme, 12 November 1933. Radio Times 10 November 1933: 399.Google Scholar
Wallis, Whitworth. “A New Theatre for Shakespeare.” The Times [London] 10 March 1926: 15.Google Scholar
Further reading
Davies, Anthony. “Shakespeare and the Media of Film, Radio and Television: A Retrospect.” Shakespeare Survey 39 (1987): 1–12. DOI: 10.1017/CCOL0521327571.001.Google Scholar
Evans, Stuart. “Shakespeare on Radio.” Shakespeare Survey 39 (1987): 113–22. DOI: 10.1017/CCOL0521327571.009.Google Scholar
Greenhalgh, Susanne. “Shakespeare Overheard: Performances, Adaptations, and Citations on Radio.” The Cambridge Companion to Shakespeare and Popular Culture. Ed. Shaughnessy, Robert. Cambridge: Cambridge University Press, 2007. 175–98. DOI: 10.1017/CCOL9780521844291.010.Google Scholar
Jensen, Michael P. “Lend Me Your Ears: Sampling BBC Radio Shakespeare.” Shakespeare Survey 61 (2008): 170–80. DOI: 10.1017/CCOL9780521898881.013.Google Scholar