John Russell Brown directed plays in England, the USA and around the world. He was an Associate Director of the Royal National Theatre for fifteen years, and chaired the Drama Panel of the Arts Council of Great Britain. He authored numerous works on Shakespeare and contemporary theatre, including New Sites for Shakespeare (Routledge, 1999) and Shakespeare and the Theatrical Event (2002).Stephen Di Benedetto is currently an Assistant Professor of Theatre History and Theory at the University of Miami. He is the Book Review Editor (North America), for Theatre Research International. Dr. Di Benedetto has held teaching positions at the University of Houston; the Drama Studies Centre; University College Dublin; National University of Ireland; and at DePaul University. He has contributed scholarly essays as part of The Senses in Performance: Taste, Touch, Smell, and Sound in the Theatre (Routledge, 2006); Patronage, Spectacle and the Stage (Prague Theatre Institute, 2006); Space and the Postmodern Stage (Prague Theatre Institute, 2000); and The Professions in Contemporary British Drama (Intellect Books, 2003).

• Chapter 1 Looking at contemporary design practice and Shakespeare, Stephen DiBenedetto; Chapter 2 “Here is my space”, Christian M.Billing; Chapter 3 Scenography at the Royal Shakespeare Company 1963–1968, LiamDoona; Chapter 4 Karl-Ernst Herrmann, Klaus van denBerg; Chapter 5 Ming Cho Lee, ArnoldAronson; Chapter 6 Alison Chitty – the public sketch, HilaryBaxter; Chapter 7 Robert Wilson, MariaShevtsova; Chapter 8 The form of (her) intent, BrandinBarón-Nusbaum; Chapter 9 Designing sound for Shakespeare, AdrianCurtin; Chapter 10 Beyond Language, DoritaHannah;

"Highly recommended. Included are essays on Josef Svoboda, Karl-Ernst Herrmann (an excellent study by Klaus van den Berg), Ming Cho Lee, Alison Chitty, and Catherine Zuber. Maria Shevtsova’s study of director-designer Robert Wilson’s spatial organization for four Shakespeare productions is outstanding for its fine content and powerful, clear, evocative writing."- F. H. Londré, University of Missouri-Kansas City in CHOICE

John Russell Brown directed plays in England, the USA and around the world. He was an Associate Director of the Royal National Theatre for fifteen years, and chaired the Drama Panel of the Arts Council of Great Britain. He authored numerous works on Shakespeare and contemporary theatre, including New Sites for Shakespeare (Routledge, 1999) and Shakespeare and the Theatrical Event (2002).Stephen Di Benedetto is currently an Assistant Professor of Theatre History and Theory at the University of Miami. He is the Book Review Editor (North America), for Theatre Research International. Dr. Di Benedetto has held teaching positions at the University of Houston; the Drama Studies Centre; University College Dublin; National University of Ireland; and at DePaul University. He has contributed scholarly essays as part of The Senses in Performance: Taste, Touch, Smell, and Sound in the Theatre (Routledge, 2006); Patronage, Spectacle and the Stage (Prague Theatre Institute, 2006); Space and the Postmodern Stage (Prague Theatre Institute, 2000); and The Professions in Contemporary British Drama (Intellect Books, 2003).

• Chapter 1 Looking at contemporary design practice and Shakespeare, Stephen DiBenedetto; Chapter 2 “Here is my space”, Christian M.Billing; Chapter 3 Scenography at the Royal Shakespeare Company 1963–1968, LiamDoona; Chapter 4 Karl-Ernst Herrmann, Klaus van denBerg; Chapter 5 Ming Cho Lee, ArnoldAronson; Chapter 6 Alison Chitty – the public sketch, HilaryBaxter; Chapter 7 Robert Wilson, MariaShevtsova; Chapter 8 The form of (her) intent, BrandinBarón-Nusbaum; Chapter 9 Designing sound for Shakespeare, AdrianCurtin; Chapter 10 Beyond Language, DoritaHannah;

"Highly recommended. Included are essays on Josef Svoboda, Karl-Ernst Herrmann (an excellent study by Klaus van den Berg), Ming Cho Lee, Alison Chitty, and Catherine Zuber. Maria Shevtsova’s study of director-designer Robert Wilson’s spatial organization for four Shakespeare productions is outstanding for its fine content and powerful, clear, evocative writing."- F. H. Londré, University of Missouri-Kansas City in CHOICE

John Russell Brown directed plays in England, the USA and around the world. He was an Associate Director of the Royal National Theatre for fifteen years, and chaired the Drama Panel of the Arts Council of Great Britain. He authored numerous works on Shakespeare and contemporary theatre, including New Sites for Shakespeare (Routledge, 1999) and Shakespeare and the Theatrical Event (2002).Stephen Di Benedetto is currently an Assistant Professor of Theatre History and Theory at the University of Miami. He is the Book Review Editor (North America), for Theatre Research International. Dr. Di Benedetto has held teaching positions at the University of Houston; the Drama Studies Centre; University College Dublin; National University of Ireland; and at DePaul University. He has contributed scholarly essays as part of The Senses in Performance: Taste, Touch, Smell, and Sound in the Theatre (Routledge, 2006); Patronage, Spectacle and the Stage (Prague Theatre Institute, 2006); Space and the Postmodern Stage (Prague Theatre Institute, 2000); and The Professions in Contemporary British Drama (Intellect Books, 2003).

• Chapter 1 Looking at contemporary design practice and Shakespeare, Stephen DiBenedetto; Chapter 2 “Here is my space”, Christian M.Billing; Chapter 3 Scenography at the Royal Shakespeare Company 1963–1968, LiamDoona; Chapter 4 Karl-Ernst Herrmann, Klaus van denBerg; Chapter 5 Ming Cho Lee, ArnoldAronson; Chapter 6 Alison Chitty – the public sketch, HilaryBaxter; Chapter 7 Robert Wilson, MariaShevtsova; Chapter 8 The form of (her) intent, BrandinBarón-Nusbaum; Chapter 9 Designing sound for Shakespeare, AdrianCurtin; Chapter 10 Beyond Language, DoritaHannah;

"Highly recommended. Included are essays on Josef Svoboda, Karl-Ernst Herrmann (an excellent study by Klaus van den Berg), Ming Cho Lee, Alison Chitty, and Catherine Zuber. Maria Shevtsova’s study of director-designer Robert Wilson’s spatial organization for four Shakespeare productions is outstanding for its fine content and powerful, clear, evocative writing."- F. H. Londré, University of Missouri-Kansas City in CHOICE