Simon Palfrey
Biographic Data
| ID | 8480749 |
|---|---|
| NAME | Simon Palfrey |
| GIVEN NAMES | Simon |
| FAMILY NAME | Palfrey |
| SIGNATURE | PALFREY S |
| AFFILIATIONS | University of Oxford |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 0 |
Shakespeare’s Dead
Poor Tom
One of the most memorable and affecting Shakespearean characters is Edgar in King Lear. He has long been celebrated for his faithfulness in the face of his father's rejection, and the scene in which he saves his blinded father from suicide is regarded as one of the most moving in all of Shakespeare. In Tom, Simon Palfrey asks us to rethink all those received ideas - and thus to experience King Lear as never before. He argues that Edgar is Shakesp…
Shakespeare's Possible Worlds
New methods are needed to do justice to Shakespeare. His work exceeds conventional models, past or present, for understanding playworlds. In this book, Simon Palfrey goes right to the heart of early modern popular drama, recovering both how it works and why it matters. Unlike his contemporaries, Shakespeare gives independent life to all of his instruments, and to every fraction and fragment of the plays. Palfrey terms these particles 'formactions…
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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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…
Shakespeare's Possible Worlds
New methods are needed to do justice to Shakespeare. His work exceeds conventional models, past or present, for understanding playworlds. In this book, Simon Palfrey goes right to the heart of early modern popular drama, recovering both how it works and why it matters. Unlike his contemporaries, Shakespeare gives independent life to all of his instruments, and to every fraction and fragment of the plays. Palfrey terms these particles 'formactions…
Poor Tom
One of the most memorable and affecting Shakespearean characters is Edgar in King Lear. He has long been celebrated for his faithfulness in the face of his father's rejection, and the scene in which he saves his blinded father from suicide is regarded as one of the most moving in all of Shakespeare. In Tom, Simon Palfrey asks us to rethink all those received ideas - and thus to experience King Lear as never before. He argues that Edgar is Shakesp…
Shakespeare’s Dead
Art (5 works) · Shakespeare, Adaptation, and Literary Criticism (4 works) · History (3 works) · 1564-1616 (2 works) · Aesthetics (2 works) · History and criticism (2 works) · Literature (2 works) · Philosophy (2 works) · Psychology (2 works) · Renaissance Literature and Culture (2 works)