Inspired by new approaches in performance studies, theatre history, research in material culture and dress history, a rich discussion of the many aspects of costume in Shakespearean performance has begun. Shakespeare and Costume furthers this research, bringing together varied and stimulating essays by leading scholars that consider costume from literary, dramatic, design, performative and theatrical perspectives, as well as interviews with renowned theatre practitioners Jane Greenwood and Robert Morgan. The volume amply demonstrates how an analysis of the meaning of costume enriches our understanding of Shakespeare's plays. Beginning with an overview of the stage history of Shakespeare and costume, the volume looks at the historical context of clothing in the plays, considering topics such as royal self-fashioning, festive livery practices, and conceptions of race and gender exhibited in clothing choice, as well as costume in performance. Drawing on documentary evidence in designers' renderings, illustrations in periodicals, paintings, photographs, newspaper reviews and actors' memoirs, the volume also explores costume designs in specific Shakespeare productions from the re-openin... [Read More]

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of "Costuming the Shakespearean Stage" address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's "A Game at Chess", to show how costumes signified across the

Shakespeare’s works, Charlton Heston said, are “the measuring stick against which you measure an actor’s work.” Heston made his Broadway debut against that measuring stick, appearing in a supporting role in Antony and Cleopatra. Twenty-five years later, he was one of the world’s biggest stars when he brought his authoritative presence and literary command to the lead role of Marc Antony in this masterful movie adaptation of the Bard’s tale of Rome’s hero and Egypt’s queen (Hildegarde Neil). Heston wrote the adaptation and also directed, opening up the story to its cinematic possibilities with spectacle, pyramids, warfare at sea (with some similarity to Heston’s mighty Ben-Hur) and a clash of armies on land. Peter Snell produced the epic drama.

From executive producer Sam Mendes (Skyfall, American Beauty) comes a stunning adaptation of four of Shakespeare’s most celebrated history plays: Richard II, Henry IV (Part 1 and Part 2), and Henry V. Academy Award winner Jeremy Irons (The Borgias), Tom Hiddleston (The Avengers), and Ben Whishaw (Skyfall) in his award-winning role as Richard II star in this epic tale of three kings, their battle for survival, and the rise and fall of a dynasty.

William Shakespeare’s classic play The Merchant of Venice comes to life like never before in this 1973 adaptation starring two titans of stage and screen: Sir Laurence Olivier and Dame Joan Plowright. Young Bassanio (Jeremy Brett) desires the lovely Portia (Plowright), but in order to win the fair lady’s hand properly, he needs money. Taking a loan from the moneylender Shylock (Olivier), Bassanio names his friend Antonio (Anthony Nicholls) as guarantor… but when the loan comes due and is unpaid, Shylock demands a particular penalty from his debtor: a pound of his flesh. Now Portia must find a way to thwart Shylock from his plans and save Antonio. Shakespeare lovers will thrill to this excellent adaptation of one of his most talked-about plays, performed by a tremendous cast featuring some of the finest actors of our time.

How do we love this set, let us count the ways! Whether you're a Shakespearian by trade or a peasant looking to perk up your ensemble, this collar and cuff set will finish off your costume with style. Great compliment for our: King Henry Hat and Royal Queen Crown. 100% Polyester Organza Collar and cuffs fasten using hook and loop closures, is adjustable Cuffs and collar included, outfit excluded Excellent costume accessory for: Shakespeare, Elizabethan Era, Othello, or Macbeth One size fits most adults and teens ages 14+ Steam or cool iron to achieve desired shapeSpot clean only SHARE LAUGHTER: WEAR HAPPINESS In 1993, elope's founders created a company dedicated to a vision of happiness: everybody's laughing on planet earth (e.l.o.p.e). 25 years later, it’s that same delight in adventure, joyful gift ideas, and passion for creative costumes that inspires every product decision. TAKING FUNNY ACCESSORIES SERIOUSLY At elope, we’re not just in it for seasonal Halloween costume accessory or Christmas accessory. We're committed to transforming the world through responsibly sourced silly hats, easy costumes, and kids dress-up items as wearable art. We like to be inclusive by designi... [Read More]

In the days of old, it was popular fashion to be wearing a jabot and wrist cuffs. This fashion trend could even be seen in modern times from rock stars to groovy dudes. Vintage pirates and vampires have also been known to sport the look of the jabot and cuffs. This kit includes a jabot and wrist cuffs. This is great on its own, but could be even better with the other accessories available in our

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to

THE method of dramatic representation in the time of Shakespeare has long received close study. Among those who have more recently devoted their energies to the subject may be mentioned W.J. Lawrence, T.S. Graves, G.F. Reynolds, V.E. Albright, A.H. Thorndike, and B. Neuendorff, each of whom has embodied the results of his investigations in one or more noteworthy volumes. But the history of the playhouses themselves, a topic equally important, has not hitherto been attempted. If we omit the brief notices of the theatres in Edmond Malone's The Plays and Poems of William Shakespeare (1790) and John Payne Collier's The