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List of illustrations | p. ix |
Notes on contributors | p. xi |
Acknowledgements | p. xvi |
Introduction | p. 1 |
Notions of Authenticity | p. 5 |
The move indoors | p. 7 |
Whig heroics: Shakespeare, Cibber, and the troublesome | p. 22 |
Coriolanus and the (in) authenticities of William Poel's platform stage | p. 37 |
'A fresh advance in Shakespearean production': Tyrone Guthrie in Canada | p. 57 |
Authenticity in the twenty-first century: Propeller and Shakespeare's Globe | p. 71 |
Attitudes Towards Sex and Gender | p. 91 |
Performing beauty on the Renaissance stage | p. 93 |
The artistic, cultural, and economic power of the actress in the age of Garrick | p. 107 |
Women writing Shakespeare's women in the nineteenth century: The Winters Tale | p. 124 |
'Not our Olivia': Lydia Lopokova and Twelfth Night | p. 144 |
Measure for Measure: Shakespeare's twentieth-century play | p. 164 |
Questions of Identity | p. 185 |
Shakespeare and the rhetoric of scenography 1770-1825 | p. 187 |
The presence of Shakespeare | p. 210 |
Finding local habitation: Shakespeare's Dream at play on the stage of contemporary Australia | p. 229 |
'Haply for I am black': shifting race and gender dynamics in Talawa's Othello | p. 248 |
British directors in post-colonial South Africa | p. 264 |
Epilogue Shakespeare's audiences as imaginative communities | p. 277 |
Index | p. 293 |
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