Shakespeare's Theatres and the Effects of Performance

Farah Karim-Cooper is Head of Research at Shakespeare's Globe, London and the author of several critical studies focussing on performance. Tiffany Stern is Beaverbrook and Bouverie Fellow and Tutor in English, University College, Oxford. She is a General Editor of the New Mermaids series and the author of several critical studies.Contributors include: Andrew Gurr, Gwilym Jones (Queen Mary, University of London), Nathalie Rivere de Carles (University of Toulouse), Lucy Munro (University of Keele), Andrea Stevens (University of Illinois), Bridget Escolme (Queen Mary, University of London), Paul Menzer (Mary Baldwin College), Bruce Smith (University of Southern California), Holly Dugan (George Washington University), Evelyn Tribble (University of Otago)

• PrefaceAndrew GurrList of IllustrationsList of ContributorsIntroduction Farah-Karim Cooper and Tiffany SternPart One: The Fabric of Early Modern Theatres1. ‘This Wide and Universal Theatre’: the Theatre as Prop in Shakespeare’s MetadramaTiffany Stern2. Storm effects in ShakespeareGwilym Jones3. Performing Materiality: Curtains on the Early Modern StageNathalie Rivere de CarlesPart Two: Technologies of the Body4. ‘They eat each others’ arms’: Stage Blood and Body PartsLucy Munro5. Cosmetic TransformationsAndrea Stevens6. Costume, Disguise and Self-DisplayBridget Escolme7. Character ActingPaul MenzerPart 3: The Sensory Stage8. Within , Without, Withinwards: The Circulation of Sound in Shakespeare’s TheatreBruce R. Smith9. ‘As Dirty as Smithfield and As Stinking Every Whit’: The Smell of the Hope TheatreHolly Dugan10. Touch and Taste in Shakespeare’s TheatresFarah Karim-Cooper11. ‘Sight and Spectacle’12. Evelyn TribbleNotes Index

The volume is a useful touchstone for scholars working on the senses, as well as being an authoritative introduction to the possible reception of the plays in early modern theatres