Editing, Performance, Texts

Christie Carson, Royal Holloway University of London, UK Richard Allen Cave, Royal Holloway University of London, UK Mary C. Erler, Fordham University, New York, USA Lynette Hunter, University of California Davis, USA Kirsten Inglis, University of Calgary, Canada Jacqueline Jenkins, University of Calgary, Canada Boyda Johnstone, Fordham University, New York, USA Peter Lichtenfels, University of California Davis, USA Eleanor Lowe, Oxford Brookes University, UK Murray McGillivray, University of Calgary, Canada J. Gavin, Paul, Simon Fraser University, Canada James Purkis, University of Western Ontario, Canada Julie Sanders, University of Nottingham, UK Claire Sponsler, University of Iowa, USA Andrew Taylor, University of Ottawa, Canada Brian Woolland, University of Reading, UK

• Introduction: 'New Practices', Jacqueline Jenkins and Julie Sanders PART I: ENABLING MANUSCRIPTS TO SPEAK 1. What the Beauchamp Pageant Says About Medieval Plays, Claire Sponsler 2. Reading Images, Drawing Texts: The Illustrated Abbey of the Holy Ghost in British Library MS Stowe 39', Boyda Johnstone 3. The Towneley Manuscript and Performance: Tudor Recycling?, Murray McGillivray 4. Performing the Percy Folio, Andrew Taylor PART II: PERFORMANCE TRACES IN THE ARCHIVE 5. London Commercial Theatre 1500-1576, Mary Erler 6. The Revision of Manuscript Drama, James Purkis 7. Playing Ghismonda for 'fooles' and 'noble friends': Revising for Performance Between Glausamond and Ghismonda, Kirsten Inglis 8. Cressida's Letter: Readings and Performances in the Shakespearean Archive, J. Gavin Paul PART III: EDITING THROUGH PERFORMANCE 9. (Un)editing with (Non)fictional Bodies: Pope's Daggers, Lynette Hunter and Peter Lichtenfels 10. Influencing Editors, Influencing Performers: The Page to Stage Relationship, Christie Carson 11. Actors and Editors: A Feature of the Edition Richard Brome Online, Richard Cave, Eleanor Lowe and Brian Woolland

“The editors aim to suggest ‘a new ethics of editing,’ which demands a commitment to the variety of theatrical witnesses, and thus to permissive, enabling editorial forms. … Jenkins and Sanders have produced a timely and varied volume.” (Emma Smith, Speculum, Vol. 92 (1), January, 2017)