Shakespeare and the Imprints of Performance

246 Pages·2014·2.104 MB·English

by  J. Gavin Paul (auth.)

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
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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
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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