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List of contents
Series Preface
1. Precursors
2. Cultural Milieu
3. New Spaces
4. Acting
5. Repertory
6. Case Studies
7. Davenant’s Legacy
Notes
Bibliography
Index
About the author
Amanda Eubanks Winkler is Professor of Music History and Cultures at Syracuse University, USA. She has published extensively on the Restoration music and theatre and is the author of Music, Dance, and Drama in Early Modern English Schools (2020) and O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic and the Mad on the Seventeenth-Century English Stage (2006). She has edited two volumes of Restoration theatre music (John Eccles's Incidental Music, 2015; Music for Macbeth, 2004) and recently edited the collection Beyond Boundaries: Rethinking Music Circulation in Early Modern England (2017). From 2017-2020 she was the Co-Investigator for 'Performing Restoration Shakespeare'.Richard Schoch is Professor of Drama at Queen’s University Belfast, UK.Farah Karim-Cooper is Head of Higher Education & Research, Shakespeare’s Globe and Professor of Shakespeare Studies, King’s College London, UK.
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Peter Holland holds the McMeel Family Chair in Shakespeare Studies in the Department of Film, Television and Theatre and is Associate Dean for the Arts at the University of Notre Dame. He was formerly Director of the Shakespeare Institute, Stratford-upon-Avon and is editor of Shakespeare Survey and co-general editor of the Oxford Shakespeare Topics series.
Peter Holland is McMeel Family Chair in Shakespeare Studies at the University of Notre Dame, USA.
Peter Holland is the McMeel Family Chair in Shakespeare Studies and the Associate Dean for the Arts at the University of Notre Dame, USA.
Summary
Eubanks Winkler and Schoch reveal how – and why – the first generation to stage Shakespeare after Shakespeare’s lifetime changed absolutely everything. Founder of the Duke’s Company, Sir William Davenant influenced how Shakespeare was performed in a profound and lasting way. This open access book provides the first performance-based account of Restoration Shakespeare, exploring the precursors to Davenant’s approach to Restoration Shakespeare, the cultural context of Restoration theatre, the theatre spaces in which the Duke’s Company performed, Davenant’s adaptations of Shakespeare’s plays, acting styles, and the lasting legacy of Davenant’s approach to staging Shakespeare.
The eBook editions of this work are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by Queen's University Belfast.
Foreword
This is the first book devoted to Restoration Shakespeare in performance, focusing on the pioneering achievements of Sir William Davenant (1606-1668) and the Duke’s Company, which Davenant founded as the original patentee.
