Shakespeare's Theatres and the Effects of Performance

Farah Karim-Cooper is Head of Research at Shakespeare's Globe, London and the author of several critical studies focussing on performance. Tiffany Stern is Beaverbrook and Bouverie Fellow and Tutor in English, University College, Oxford. She is a General Editor of the New Mermaids series and the author of several critical studies. Contributors include: Andrew Gurr, Gwilym Jones (Queen Mary, University of London), Nathalie Rivere de Carles (University of Toulouse), Lucy Munro (University of Keele), Andrea Stevens (University of Illinois), Bridget Escolme (Queen Mary, University of London), Paul Menzer (Mary Baldwin College), Bruce Smith (University of Southern California), Holly Dugan (George Washington University), Evelyn Tribble (University of Otago)

Preface Andrew Gurr List of Illustrations List of Contributors Introduction Farah-Karim Cooper and Tiffany Stern Part One: The Fabric of Early Modern Theatres 1. 'This Wide and Universal Theatre': the Theatre as Prop in Shakespeare's Metadrama Tiffany Stern 2. Storm effects in Shakespeare Gwilym Jones 3. Performing Materiality: Curtains on the Early Modern Stage Nathalie Rivere de Carles Part Two: Technologies of the Body 4. 'They eat each others' arms': Stage Blood and Body Parts Lucy Munro 5. Cosmetic Transformations Andrea Stevens 6. Costume, Disguise and Self-Display Bridget Escolme 7. Character Acting Paul Menzer Part 3: The Sensory Stage 8. Within , Without, Withinwards: The Circulation of Sound in Shakespeare's Theatre Bruce R. Smith 9. 'As Dirty as Smithfield and As Stinking Every Whit': The Smell of the Hope Theatre Holly Dugan 10. Touch and Taste in Shakespeare's Theatres Farah Karim-Cooper 11. 'Sight and Spectacle' 12. Evelyn Tribble Notes Index