Tiffany Stern
Biographic Data
| ID | 3586397 |
|---|---|
| NAME | Tiffany Stern |
| GIVEN NAMES | Tiffany |
| FAMILY NAME | Stern |
| SIGNATURE | STERN T |
| AFFILIATIONS | University of Birmingham |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Afterword
This afterword is also a ‘beforehand’: it gives a background for the articles in this special issue, exploring William Shakespeare's own references to puppet shows, puppets themselves and puppet audiences and looking too at the actual puppets he may have used in his plays. Its argument is that, from the first, the relationship between Shakespeare and puppets was reciprocal; he treated puppet plays in much the way that, as these trenchant articles…
Antes do início; depois do final
Este ensaio explora os eventos encenatórios que aconteciam antes que a performance da peça iniciava bem como os eventos de cena que aconteciam depois do final da peça teatral. Indaga se tais elementos, que Gerard Genette chama de ‘epitextos’, são importantes o bastante para a encenação, o texto a edição e/ou sentido como partes constituintes do drama enquanto tal. Concentrando-se sobre o toque de trombeta que anunciava o ‘início’ de uma peça, sob…
Bath and Bladud
Documents of Performance in Early Modern England
Between Text and Performance
This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the a…
I Have Both the Note, and Dittie About Me
Songs in early modern playbooks-printed books of the plays of Shakespeare and other authors-differ from the surrounding dialogue in a number of ways. They are often in italic though the dialogue tends to be in roman lettering; and they are frequently topped with the heading "Song," self-evident information that is a statement rather than a stage direction. On other occasions, songs are missing from the text altogether, leaving a stranded heading,…
Documents of Performance in Early Modern England
As well as 'play-makers' and 'poets', playwrights of the early modern period were known as 'play-patchers' because their texts were made from separate documents. This book is the first to consider all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls…
Rehearsal from Shakespeare to Sheridan
Attention is often given to the performance of a text, but not to the shaping process behind that performance. The question of rehearsal is seldom confronted directly, though important textual moments — like revision — are often attributed to it. What is more, up until now, facts about theatrical rehearsal have been considered irrecoverable. In this groundbreaking new study, the author gathers together two centuries' worth of historical material …
Rehearsal in Betterton’s Theatre
This chapter focuses on the years 1640–1710 — the ‘Restoration period’. Buckingham's play The Rehearsal provides an initial focus, distanced as it is from actual English rehearsal by its author's familiarity with the French method. The early Restoration theatre is investigated, with a look at what it inherited from Elizabethan performance practice and what it borrowed from the Continent. It examines rehearsal itself, from the distribution and lea…
The Actor's Part
Much uncertainty has arisen from the erroneous assumption that there is only one surviving early modern written ‘part’ from which all knowledge of actors' texts must be gleaned. But in fact there are a handful of extant parts in English both from the Renaissance period and earlier; and from later — the Restoration and the 18th century — there are large quantities of surviving professional theatre parts. This chapter begins with a description of e…
Shakespeare in Parts
INTRODUCTION I: HISTORY 1. The Actor's Part 2. The Actors 3. Rehearsing and Performing II: INTERPRETING CUES 4. History of the Cue 5. Interpreting Shakespeare's Cues 6. Cues and Characterisation 7. Waiting and Suddenness: the Part in Time 8. Repeated Cues 9. Repeated cues: from Crowds to Clowns 10. Repeated cues: comi-tragic/tragic-comic pathos 11. Repeated cues and the battle for the cue-space: The Merchant of Venice 12. Repeated cues and traged…
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Rehearsal from Shakespeare to Sheridan
Attention is often given to the performance of a text, but not to the shaping process behind that performance. The question of rehearsal is seldom confronted directly, though important textual moments — like revision — are often attributed to it. What is more, up until now, facts about theatrical rehearsal have been considered irrecoverable. In this groundbreaking new study, the author gathers together two centuries' worth of historical material …
Rehearsal in Betterton’s Theatre
This chapter focuses on the years 1640–1710 — the ‘Restoration period’. Buckingham's play The Rehearsal provides an initial focus, distanced as it is from actual English rehearsal by its author's familiarity with the French method. The early Restoration theatre is investigated, with a look at what it inherited from Elizabethan performance practice and what it borrowed from the Continent. It examines rehearsal itself, from the distribution and lea…
The Actor's Part
Much uncertainty has arisen from the erroneous assumption that there is only one surviving early modern written ‘part’ from which all knowledge of actors' texts must be gleaned. But in fact there are a handful of extant parts in English both from the Renaissance period and earlier; and from later — the Restoration and the 18th century — there are large quantities of surviving professional theatre parts. This chapter begins with a description of e…
Shakespeare in Parts
INTRODUCTION I: HISTORY 1. The Actor's Part 2. The Actors 3. Rehearsing and Performing II: INTERPRETING CUES 4. History of the Cue 5. Interpreting Shakespeare's Cues 6. Cues and Characterisation 7. Waiting and Suddenness: the Part in Time 8. Repeated Cues 9. Repeated cues: from Crowds to Clowns 10. Repeated cues: comi-tragic/tragic-comic pathos 11. Repeated cues and the battle for the cue-space: The Merchant of Venice 12. Repeated cues and traged…
Documents of Performance in Early Modern England
As well as 'play-makers' and 'poets', playwrights of the early modern period were known as 'play-patchers' because their texts were made from separate documents. This book is the first to consider all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls…
Documents of Performance in Early Modern England
Between Text and Performance
This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the a…
I Have Both the Note, and Dittie About Me
Songs in early modern playbooks-printed books of the plays of Shakespeare and other authors-differ from the surrounding dialogue in a number of ways. They are often in italic though the dialogue tends to be in roman lettering; and they are frequently topped with the heading "Song," self-evident information that is a statement rather than a stage direction. On other occasions, songs are missing from the text altogether, leaving a stranded heading,…
Bath and Bladud
Antes do início; depois do final
Este ensaio explora os eventos encenatórios que aconteciam antes que a performance da peça iniciava bem como os eventos de cena que aconteciam depois do final da peça teatral. Indaga se tais elementos, que Gerard Genette chama de ‘epitextos’, são importantes o bastante para a encenação, o texto a edição e/ou sentido como partes constituintes do drama enquanto tal. Concentrando-se sobre o toque de trombeta que anunciava o ‘início’ de uma peça, sob…
Afterword
This afterword is also a ‘beforehand’: it gives a background for the articles in this special issue, exploring William Shakespeare's own references to puppet shows, puppets themselves and puppet audiences and looking too at the actual puppets he may have used in his plays. Its argument is that, from the first, the relationship between Shakespeare and puppets was reciprocal; he treated puppet plays in much the way that, as these trenchant articles…
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