Relevant bibliographies by topics / Plays (Shakespeare, William)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Plays (Shakespeare, William)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Plays (Shakespeare, William)"

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Erne, Lukas. "Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)." Theatre Research International 25, no. 3 (2000): 255–65. http://dx.doi.org/10.1017/s0307883300019714.

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Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic technique. By the end of the century, the assimilation had advanced far enough for August Wilhelm von Schlegel, the famous translator of seventeen of Shakespeare's plays, to indulge in no slight national chauvinism: ‘I am eager’, he writes in a letter to his cotranslator Ludwig Tieck, ‘to have your letters on Shakespeare.… I hope you will prove, among other things, that Shakespeare wasn't English. I wonder how he came to dwell among the frosty, stupid souls on that brutal island? … The English critics understand nothing about Shakespeare.’ Even though Tieck failed to prove that Shakespeare was not of English birth, the conviction that Shakespeare was best understood by German rather than by English critics only grew in the course of the nineteenth century. Appropriately, it was in Germany that the first periodical devoted exclusively to Shakespeare, the Jahrbuch der Deutschen Shakespeare-Gesellschaft, was founded in 1865. Fifty years later, the German novelist Gerhart Hauptmann could still claim that ‘there is no people, not even the English, that has the same right to claim Shakespeare as the German. Shakespeare's characters are a part of our world, his soul has become one with ours: and though he was born and buried in England, Germany is the country where he truly lives.’
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Mastud, Shahaji. "Racial Conflict in the Selected Plays of William Shakespeare." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 27, 2021): 95–111. http://dx.doi.org/10.24113/ijellh.v9i5.11047.

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William Shakespeare embraces the racial concerns of the seventeenth century in his various plays. The racial clash was one of the significant inquiries of the seventeenth century. There were numerous prohibitions against the relationship of black and white. The etymological colonialism was at the core of the Shakespearean dramatization that rendered on racism. The language utilized as a pioneering instrument for racial discrimination. Moreover, Shakespeare's play was effectively associated with darker-looking individuals during Elizabethan times. Therefore, the darker-looking Othello and the Jewish Shylock have assumed a significant role in the play. They dominated their respective play, that’s why Shakespeare's works depict the dramatization of racial conflict. There are numerous cases of racial segregation in the current situation, so the issue of race is expected to be re-evaluated with a fresh point of view.This knowledge will help to solve the problem of racial conflict with ground breaking thoughts.
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Caputo, Nicoletta. "LOOKING FOR RICHARD III IN ROMANTIC TIMES: THOMAS BRIDGMAN'S AND WILLIAM CHARLES MACREADY'S ABORTIVE STAGE ADAPTATIONS." Theatre Survey 52, no. 2 (November 2011): 275–300. http://dx.doi.org/10.1017/s0040557411000391.

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In his commendatory poem from the First Folio, Ben Jonson asserted that Shakespeare “was not of an age, but for all time.” This has proved true, and Shakespeare has been able to speak to many succeeding generations of readers and theatregoers. This, however, is not because essential, unchangeable, and universal truths about human nature, the world, and experience lay hidden in his plays or his characters but (quite the opposite) because succeeding generations, over the centuries, have been able to appropriate, exploit, and reuse Shakespeare to make sense of their world and their lives. Shakespeare is for all time precisely because he has relentlessly changed over time. The author and his texts have been unceasingly reinvented, and a virtually infinite number of “alternative Shakespeares” has come to embody specific contemporary issues and conflicts. As Jean Marsden put it in 1991, Shakespeare is the object of “an ongoing process of literary and cultural appropriation in which each new generation attempts to redefine Shakespeare's genius in contemporary terms, projecting its desires and anxieties onto his work.” This is true for both the “dramatic” Shakespeare and the “theatrical” Shakespeare: Shakespeare's plays have been as tirelessly reinterpreted on the page by scholars (and others) as they have been reinvented on the stage by actors and directors. The fate of King Richard III, however, is peculiar from this point of view, insofar as an often-denigrated Restoration revision of Shakespeare's play totally replaced the “original” one in the theatre and held the stage for nearly 200 years. This peculiarity acquires interesting overtones when we look at the treatment the staged play received at the hands of the Romantics, who, in spite of the bardolatry prevailing at the time and their often-vented disesteem for the adapted version, apparently missed their opportunity to make Shakespeare's original play speak for their own time.
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Thakur, Vikram Singh. "From ‘Imitation’ to ‘Indigenization’: A Study of Shakespeare Performances in Colonial Calcutta." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 193. http://dx.doi.org/10.14198/raei.2012.25.15.

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The plays of William Shakespeare have been performed all over the globe. This is particularly true of the erstwhile colonies of Britain and India is no exception. Along with other English playwrights, Shakespeare’s plays began to be performed in India during the eighteenth century by British officials for their entertainment. Educated Indians took these performances as a model to develop ‘modern’ Indian theatre. The present essay engages with Shakespeare production in colonial Calcutta, starting with Shakespeare performances in English before moving on to consider the later process of ‘indigenizing’ Shakespeare. The essay also proposes that Shakespeare production in Calcutta after the 1850s when Shakespeare’s plays moved out of the confines of schools and colleges has been governed by its own aesthetics.
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Meyer, John M. "“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (December 30, 2022): 119–46. http://dx.doi.org/10.18778/2083-8530.26.08.

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The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.
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Mahmood, Wafa Salim. "The Tone of Female Characters in William Shakespeare's As You Like It." Journal of Tikrit University for Humanities 27, no. 6 (August 28, 2020): 57–73. http://dx.doi.org/10.25130/jtuh.27.6.2020.25.

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Studying English literature is insufficient without shedding light on the works of William Shakespeare (1564- 1616). His plays in particular, are rich of significant ideas that give inspiration, controversy and debate for both spectators and critics despite the fact that female characters in Shakespearean plays have less conversation than the male characters. Nevertheless; when they speak, the spectators feel that they seem as they were the backbone of the plays. Their roles are pivotal in the plays and in the development of the plot and undoubtedly, their words and their speeches reflect the mind of the male counterparts. In this respect, the present research is focused on the tone of female characters in Shakespeare’s comedy As you Like it in the light of two points. The first is the focus on how Shakespeare used tone differently for his male and female characters and the other is in what extent the tone is leveled in comedy plays. The aim of the present research is to examine, to understand and to characterize the tone in the boundaries of the context depending on Renaissance period.
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Tatipang, Devilito P. "William Shakespeare and Modern English: To What Extent the Influence of Him in Modern English." Journal of English Language Teaching, Literature and Culture 1, no. 1 (March 25, 2022): 61–71. http://dx.doi.org/10.53682/jeltec.v1i1.3728.

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Shakespeare’s works at that time considered a work of high art. The influence of his work has been a source of inspiration for many artists to create paintings, operas and ballet performances. Studying Shakespeare is like studying life from multiple perspectives: psychological, political, philosophical, social, spiritual. The rhythms he uses in his words are reflected in the rhythms of our bodies. Known as the greatest English-language writer in history, and earning him the nickname of England's national poet, William Shakespeare is the author with the most-played theatrical work to date. More than four centuries since his death, William Shakespeare is still one of the greatest English playwrights. The tens of thousands of people who throng to see Shakespeare's plays will be able to hear the 1700 words created by Shakespeare. Many of his words are currently in use. Examples: "deafening" (deaf)," hush", "hurry" (quickly), " downstairs" (below), " gloomy" (sad), " lonely" (alone), "embrace" (hugs), " dawn" (twilight). The spelling used by Shakespeare was different from his time. Elizabethans spelled words as they were written, such as Latin and Indonesian. There is no "correct" way to spell. People write a word the way they want it to be spelled.
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Barozai, Shumaila Maryam, Faria Saeed Khan, and Muhammad Zeeshan. "Shakespeare’s Concept of Astronomy." Al-Burz 8, no. 1 (December 20, 2016): 55–64. http://dx.doi.org/10.54781/abz.v8i1.135.

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This contribution scrutinizes Shakespeare knowledge and views about cosmological theories i.e. Ptolemaic, Copernicus, TychoBrahe and Galileo. It in addition claims that William Shakespeare had a profound interest and specialized knowledge in the domain of technical astronomy. Plays by Shakespeare are loaded with astronomical allusions. Because that is injected in Shakespeare’s nature to discuss every aspect of his age like medicine, falconry and agriculture but his astronomy is quite interesting. Furthermore, this effort examines the Shakespeare’s astronomical concept in allegorical form in his plays, especially in Hamlet, King Lear, Othello, Julius and Ceaser, Henry VI, The Tempest and Antony and Cleopatra.
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Dr. Hitendra Nath Chaubey. "Dramaturgy: Exploring the Elements of Shakespearean Tragedy with the Perspectives of R. Srinivasa Iyengar." Creative Launcher 7, no. 3 (June 30, 2022): 90–100. http://dx.doi.org/10.53032/tcl.2022.7.3.11.

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R. Srinivasa Iyengar has presented his views on William Shakespeare’s art of dramaturgy in his noteworthy work; Shakespeare: His World and His Art. It was published in 1964 and was received enthusiastically by lovers of literature. The work has finally been divided by Iyengar into fifteen chapters. The purpose of present study is to discuss Iyengar’s view on Shakespeare’s tragedy in detail. His love for the Shakespeare’s artistic sense was cherished by his mother who was fond of literature specially of Shakespeare. He received a book Tales and Travels by Hugh Laurence as second prize when he was in fourth class (1916-1917). It was signed by the principal, K.C. Viraraghava Iyer and the family has still preserved it. Iyengar loved great literature and so, generally speaking there were no favorites as such in his literary world. But two names were very close to heart: William Shakespeare and Sri Aurobindo. His first encounter with Shakespeare was through reading Charles and Mary Lamb’s Tales from Shakespeare in1922. The impact of this first encounter with Shakespeare lasted through his life time. Such was his phenomenal memory that long after he gave up reading due to loss of vision, just a year prior to his passing away, he could name the character, act and scene from all the plays of Shakespeare when just a single line from any of the plays represented in The Oxford Dictionary of Quotations (1941) was read out to him. He loved teaching Shakespeare’s plays and had acquired an enormous amount of matter on the subject. It was natural that the approaching quarter centenary of the Bard of Avon galvanized him into action.
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Guerrero, Isabel. "‘My native English now I must forgo’: Global Shakespeare at the Edinburgh International Festival." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (August 27, 2020): 57–74. http://dx.doi.org/10.1177/0184767820935129.

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This article focuses on productions of William Shakespeare’s plays in languages other than English throughout the history of the Edinburgh International Festival. It aims to demonstrate that there has been an evolution towards global Shakespeare at the Edinburgh International Festival, and that Shakespeare stagings have been both an active agent and a product of the interconnectedness of theatre cultures in international festivals. The article considers three categories that illustrate the evolution of Shakespeare festival productions: Shakespeare without his language, heteroglossic Shakespeare, and new-brand Shakespeare. These categories are used to evaluate audience reception and assess shifts in Shakespeare studies regarding global Shakespeare.
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Dissertations / Theses on the topic "Plays (Shakespeare, William)"

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Suprenant, Susann E. "Shakespeare re-visions : representations of female characters in appropriations and radical performance adaptations of Shakespeare's plays /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
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De, Waal Marguerite Florence. "Revelatory deceptions in selected plays by William Shakespeare." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62673.

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This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays. I suggest that correlations in phrasing and imagery might undermine antitheatrical rhetoric: for example, the plays portray certain theatrical, revelatory deceptions as traps which free their victims instead of killing them. Such 'lies' are differentiated from actual deceits by their potentially relational characteristics: deceptions which reveal the truth require audiences to put aside their self-interest and certainty to consider alternative realities which might reflect, reconfigure, and expand their understanding of the world and of themselves. The resulting truths lead either to the creation or renewal of relationships, as in Much Ado About Nothing and As You Like It, or offer glimpses at the possibility of renewal, which is ultimately denied, as in Hamlet and King Lear. In both cases the imperatives for truth and right action are underscored not obscured, as antitheatricalists would have argued through the audience's vicarious experience of either the gains or losses of characters within the plays.
Dissertation (MA)--University of Pretoria, 2017.
English
MA
Unrestricted
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Fenstermaker, Rosemary A. "From tragedy to romance forgiveness in Shakespeare's last plays /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1994.
Source: Masters Abstracts International, Volume: 45-06, page: 2843. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 113-115).
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Eward-Mangione, Angela. "Decolonizing Shakespeare: Race, Gender, and Colonialism in Three Adaptations of Three Plays by William Shakespeare." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5628.

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What role did identification play in the motives, processes, and products of select post-colonial authors who "wrote back" to William Shakespeare and colonialism? How did post-colonial counter-discursive metatheatre function to make select post-colonial adaptations creative and critical texts? In answer to these questions, this dissertation proposes that counter-discursive metatheatre resituates post-colonial plays as criticism of Shakespeare's plays. As particular post-colonial authors identify with marginalized Shakespearean characters and aim to amplify their conflicts from the perspective of a dominated culture, they interpret themes of race, gender, and colonialism in Othello (1604), Antony and Cleopatra (1608), and The Tempest (1611) as explicit problems. This dissertation combines post-colonial theory and other literary theory, particularly by Kenneth Burke, to propose a rhetoric of motives for post-colonial authors who "write back" to Shakespeare through the use of counter-discursive metatheatre. This dissertation, therefore, describes and analyzes how and why the plays of Murray Carlin, Aimé Césaire, and Derek Walcott function both creatively and critically, adapting Shakespeare's plays, and foregrounding post-colonial criticism of his plays. Chapter One analyzes Murray Carlin's motivations for adapting Othello and using the framing narrative of Not Now, Sweet Desdemona (1967) to explicitly critique the conflicts of race, gender, and colonialism in Othello. Chapter Two treats why and how Aimé Césaire adapts The Tempest in 1969, illustrating his explicit critique of Prospero and Caliban as the colonizer and the colonized, exposing Prospero's insistence on controlling the sexuality of his subjects, and, therefore, arguing that race, gender, and colonialism operate concomitantly in the play. Chapter Three analyzes A Branch of the Blue Nile (1983) as both a critique and an adaptation of Antony and Cleopatra, demonstrating how Walcott's framing narrative critiques the notion of a universal "Cleopatra," even one of an "infinite variety," and also evaluates Antony as a character who is marginalized by his Roman culture. The conclusion of this dissertation avers that in "writing back" to Shakespeare, these authors foreground and reframe post-colonial criticism, successfully dismantling the colonial structures that have kept their interpretations, and the subjects of their interpretations, marginalized.
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Chow, Po-fun Wendy. "Carnivalization and subversion of order in comic plays, with reference to Shakespeare's Twelfth night and Herry IV." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12363030.

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Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.

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Maquerlot, Jean-Pierre. "Shakespeare and the mannerist tradition : a reading of five problem plays /." Cambridge [GB] : Cambridge university press, 1995. http://catalogue.bnf.fr/ark:/12148/cb37171908f.

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Shields, Timothy Brian. "Seething brains : images of madness in the world of Shakespeare's plays." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390134.

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Keller, Stefan Daniel. "The development of Shakespeare's rhetoric a study of nine plays." Tübingen Francke, 2004. http://d-nb.info/994297769/04.

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Dixon, Luke. "The performance of gender with particular reference to the plays of Shakespeare." Thesis, Middlesex University, 1998. http://eprints.mdx.ac.uk/6384/.

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An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of 'As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those productions analysed. The thesis then presents the results of a series of workshops with actors into the playing of gender and examines, by means of an experiment employing Gender Schema Theory, how actors construct gender in a production of 'Twelfth Night'. The final part of the thesis describes a controlled experiment into audience perception of gender using a scene from 'Hamlet'. Theories are presented about the nature of the performance of gender on stage and the use of theatrical conventions, the relationship between social conventions and stage conventions, about the way in which an actor builds a character, the influence of biological sex on actors' creativity, and about audience participation.
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Books on the topic "Plays (Shakespeare, William)"

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Shakespeare, William. William Shakespeare complete plays. New York, NY: Fall River Press, 2012.

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Hillman, Richard. William Shakespeare: The problem plays. New York: Twayne Publishers, 1993.

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Hillman, Richard. William Shakespeare: The problem plays. New York: Twayne Publishers, 1993.

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Marie, Hacht Anne, ed. Shakespeare for students: Critical interpretations of Shakespeare's plays and poetry. 2nd ed. Detroit: Thomson Gale, 2007.

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McGuire, Philip C. Shakespeare: The Jacobean plays. New York: St. Martin's Press, 1994.

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McGuire, Philip C. Shakespeare: The Jacobean plays. London: Macmillan Press, 1994.

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Graham, Holderness, ed. Shakespeare's history plays: Richard II to Henry V : William Shakespeare. Basingstoke: Macmillan Educ., 1992.

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Graham, Holderness, ed. Shakespeare's history plays: Richard II to Henry V : William Shakespeare. New York: St. Martin's Press, 1992.

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Shakespeare, William. The unabridged William Shakespeare. Philadelphia, Pa: Running Press, 1997.

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Mulherin, Jennifer. The best-loved plays of Shakespeare. New York: Star Bright Books, 2000.

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Book chapters on the topic "Plays (Shakespeare, William)"

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Morrissey, Lee. "Samuel Johnson (1709–1784) from “Preface to the Plays of William Shakespeare” (1765)." In Debating the Canon: A Reader from Addison to Nafisi, 21–22. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-04916-2_4.

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Brooks, Jean R. "The Play." In Hamlet by William Shakespeare, 3–44. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-07484-6_2.

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Pickering, Kenneth. "The Background to the Play." In The Tempest by William Shakespeare, 4–10. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08336-7_2.

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Davison, Peter. "From Chronicle To History Play." In Henry V by William Shakespeare, 10–21. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08702-0_3.

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Morris, Helen. "The Play on the Stage." In Romeo and Juliet by William Shakespeare, 61–68. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07425-9_7.

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Morris, Helen. "How the Play is Written." In Romeo and Juliet by William Shakespeare, 69–77. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07425-9_8.

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Morris, Helen. "The Play on the Stage." In Henry IV Part I by William Shakespeare, 66–73. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08217-9_7.

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Holland, Peter. "Responses of the Victorian age." In William Shakespeare, 104–16. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199212835.003.0010.

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Abstract Some attitudes to Shakespeare elsewhere in nineteenth-century society came from quite other needs. Shakespeare’s plays required to be changed to make them accessible to children and acceptable for families. Charles and Mary Lamb produced their Tales from Shakespeare in 1807 (mostly written by Mary), turning the plays into placidly and even at times sentimentally moral stories that were also designed to free children’s (and especially young girls’) imaginations by their encounters with the worlds of the plays. Their versions have never been out of print since and have formed the first encounters with Shakespeare for many generations of children.
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Holland, Peter. "Plays, poems, and profits." In William Shakespeare, 46–56. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199212835.003.0005.

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Abstract In the meantime, Shakespeare was developing new forms for his drama. Pericles marked a new departure, a drama whose narrative spreads to and fro across the Mediterranean, with a chorus, the poet John Gower whose poem Confessio amantis is one of the play’s sources, returned from the grave to tell the tale. From the finality of losing the beloved daughter at the end of King Lear to the possibility of a family being reunited at the end of Pericles is an enormous distance. Pericles was the only play largely written by Shakespeare not to be included in the 1623 first folio but it appeared in a quarto edition in 1608.
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Miola, Robert S. "William Shakespeare." In Early Modern Catholicism, 356–58. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0056.

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Abstract In every sense a special case, William Shakespeare (1563–1616) stands at the centre of the new early modern England that is emerging as a site of religious struggle and redeWnition. While there is no conclusive evidence for Shakespeare’s own religious convictions and practices, scholars now take more seriously Richard Davies ‘ late 17th-c. comment, ‘He died a papist ‘, and recognize the circumstantial evidence in favour of Roman Catholicism. Stratford-upon-Avon remained partially loyal to Catholicism as, indeed, did Warwick-shire, home to the Coventry mystery plays, an early dramatic inXuence on Shakespeare.
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Conference papers on the topic "Plays (Shakespeare, William)"

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Koroliova, Elfrida. "Cultural identity of Andrei Baleanu’s performances." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.20.

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Clever, highly artistic performances by Andrei Baleanu entered the golden fund of the Moldovan theatrical culture. His performances are distinguished by cultural and civic identity - Rops by Boris Kabur, the comedy Inspector General by Nicolai Gogol, the tragedy Romeo and Juliet by William Shakespeare, On the Night of the Lunar Eclipse by Mustai Karim, the heroic-romantic play Th e Blue Deer by Alexei Kolomiets, the play Solo for a Striking Clock by Osvald Zahradnik, the production drama Bonus by Alexandr Gelman, the play Th e Lower Depth by Maxim Gorky, the comedy Man and Gentleman by Eduardo de Filippo, Th e Lark by J. Anouilh. Performances that are distinguished by cultural, national and civic identities - the ballad At the Gates of Paradise based on the play Earth by Ion Podoleanu, the play Th e White Moor based on the story by Ion Creanga, the play A Stormy Night by Ion Luca Caragiale, to the hidden meanings in the text of the playwright to which was given a modern sound.
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