Shakespeare and the Imprints of Performance PDF
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Shakespeare and the Imprints of Performance History of Text Technologies, developed in conjunction with an interdisciplin- ary research program at Florida State University, is dedicated to new scholar- ship and theory in the history of books and, more generally, the transformation of sign systems into engineered objects. This exciting new series moves from the analysis of texts as material objects to the analysis of texts as material agents. It is committed to the recognition that texts cannot be separated from the various and changing technologies through which they are created. Included are ana- lytic bibliography, paleography and epigraphy, history of authorship, history of reading, study of manuscript and print culture, and history of media. Rather than being solely a historical overview, this series seeks out scholarship that provides a frame for understanding the consequences of both globalism and technology in the circulation of texts, ideas, and human culture. For more on the series, see the History of Text Technologies website at http://hott.fsu.edu. Series Editors: Gary Taylor is George Matthew Edgar Professor of English and the Founding Director of History of Text Technologies program at Florida State University. Francois Dupuigrenet Desroussilles is Professor of Religion at Florida State University. Elizabeth Spiller is Professor of English, and a member of the interdisciplinary History and Philosophy of Science program, at Florida State University. Mapping Ethnography in Early Modern Germany: New Worlds in Print Culture Stephanie Leitch Literary Folios and Ideas of the Book in Early Modern England Francis X. Connor Shakespeare and the Imprints of Performance J. Gavin Paul Shakespeare and the Imprints of Performance J. Gavin Paul SHAKESPEARE AND THE IMPRINTS OF PERFORMANCE Copyright © J. Gavin Paul, 2014. Softcover reprint of the hardcover 1st edition 2014 978-1-137-43843-0 All rights reserved. A portion of chapter 1 appeared as “Imprinting Performance: Editorial Mediations of Shakespeare’s Drama,” Shakespeare: The Journal of the British Shakespeare Association 4.1 (2008): 24–44 [tandfonline.com]. A portion of chapter 2 appeared as “English Renaissance Drama: The Imprints of Performance,” Literature Compass 5.3 (2008): 529–540, and was subsequently reprinted in The Bulletin of the Society for Renaissance Studies 25.2 (2008): 5–18. A portion of chapter 3, entitled “Performance as ‘punctuation’: Editing Shakespeare in the Eighteenth Century,” appeared in The Review of English Studies (June 2010): 390–413. They are reprinted here by kind permission. First published in 2014 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-49393-7 ISBN 978-1-137-43844-7 (eBook) DOI 10.1057/9781137438447 Library of Congress Cataloging-in-Publication Data Paul, J. Gavin. Shakespeare and the imprints of performance / J. Gavin Paul. pages cm Includes bibliographical references and index. ISBN 978–1–137–43843–0 (hardback : alk. paper) 1. Shakespeare, William, 1564–1616—Dramatic production. 2. Theater—Production and direction. 3. Drama—Technique. 4. Books and reading. 5. Theater audiences—Psychology. I. Title. PR3091.P37 2014 792.9(cid:25)5—dc23 2014011616 A catalogue record of the book is available from the British Library. Design by Newgen Knowledge Works (P) Ltd., Chennai, India. First edition: September 2014 10 9 8 7 6 5 4 3 2 1 For Jeanette, Sebastian, and Imogen Everything, Always This page intentionally left blank Contents List of Figures ix The History of Text Technologies: General Editor’s Preface xi Acknowledgments xiii Prologue: Prospero’s Storm xv 1 Mediating Page and Stage 1 2 Text and Performance on the Early Modern Page 33 3 Performance and the Editorial Tradition 79 4 Performance Commentary: Writing in the Sand 117 5 The Critical Edition as Archive 155 Epilogue: Prospero’s Bands 185 Notes 193 Bibliography 209 Index 223 This page intentionally left blank Figures 0.1 The first page of The Tempest (F, 1623) xvii 2.1 “Th[e] argument of the Tragedie” and “The names of the Speakers.” Facing pages of O1 Gorboduc (1565) 43 3.1 The frontispiece to Rowe’s edition of Hamlet (1709) 89 3.2 The frontispiece to Rowe’s edition of A Midsummer Night’s Dream (1709) 91 3.3 The end of 2.3 in Pope’s edition of Macbeth 96 3.4 The beginning of 2.4 in Pope’s edition of Macbeth 97 E.1 The final page of The Tempest (F, 1623) 186
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