Edition description: In the wide realm of Shakespeare worship, the house in Stratford-upon-Avon where William Shakespeare was born in 1564 – known colloquially as the ‘Birthplace’ – remains the chief shrine. It’s not as romantic as Anne Hathaway’s thatched cottage, it’s not where he wrote any of his plays, and there’s nothing inside the house that once belonged to Shakespeare himself. So why, for centuries, have people kept turning up on the doorstep? Richard Schoch answers that question by examining the history of the Birthplace and by exploring how its changing fortunes over the past four centuries perfectly mirror the changing attitudes toward Shakespeare himself. Based on original research in the archives of the Shakespeare Birthplace Trust in Stratford-upon-Avon and the Folger Shakespeare Library in Washington, DC, and featuring two black and white illustrated plate sections which draw on the wide array of material available at the Folger Shakespeare Library and the Victoria and Albert Museum, this book traces the history of Shakespeare’s birthplace over four centuries. Beginning in the 1560s, when Shakespeare was born there, it ends in the 1890s, when the house was rescued from private purchase and turned into the Shakespeare monument that it remains today.

In 2017, as part of the research project ‘Performing Restoration Shakespeare’, the editors led a research team of scholars and artists in discussing, workshopping, rehearsing, and performing scenes and songs from Thomas Shadwell’s 1674 operatic revision of Davenant and Dryden’s The Tempest at the Sam Wanamaker Playhouse. This chapter offers reflections on how scholar-artist collaboration in performing Restoration Shakespeare has functioned as sustained moments of what Rebecca Schneider (following Gertrude Stein) has called ‘syncopated time’ – in this instance, a collision of archival past and embodied present, in which each dimension punctured the other. Reflecting on their practice-based research, the authors propose that what can emerge through such syncopations are performance-generated insights that neither the recorded past nor the embodied present could fully apprehend on its own.

Performing Restoration Shakespeare embraces the performative and musical qualities of Restoration Shakespeare (1660–1714), drawing on the expertise of theatre historians, musicologists, literary critics, and - importantly - theatre and music practitioners. The volume advances methodological debates in theatre studies and musicology by advocating an alternative to performance practices aimed at reviving 'original' styles or conventions, adopting a dialectical process that situates past performances within their historical and aesthetic contexts, and then using that understanding to transform them into new performances for new audiences. By deploying these methodologies, the volume invites scholars from different disciplines to understand Restoration Shakespeare on its own terms, discarding inhibiting preconceptions that Restoration Shakespeare debased Shakespeare's precursor texts. It also equips scholars and practitioners in theatre and music with new - and much needed - methods for studying and reviving past performances of any kind, not just Shakespearean ones.

Eubanks Winkler and Schoch reveal how – and why – the first generation to stage Shakespeare after Shakespeare’s lifetime changed absolutely everything. Founder of the Duke’s Company, Sir William Davenant influenced how Shakespeare was performed in a profound and lasting way. This book provides the first performance-based account of Restoration Shakespeare, exploring the precursors to Davenant’s approach to Restoration Shakespeare, the cultural context of Restoration theatre, the theatre spaces in which the Duke’s Company performed, Davenant’s adaptations of Shakespeare’s plays, acting styles, and the lasting legacy of Davenant’s approach to staging Shakespeare. This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. It is funded by Queen’s University Belfast.

This short history of Shakespeare in global performance-from the re-opening of London theatres upon the restoration of the monarchy in 1660 to our present multicultural day-provides a comprehensive overview of Shakespeare's theatrical afterlife and introduces categories of analysis and understanding to make that afterlife intellectually meaningful. Written for both the advanced student and the practicing scholar, this work enables readers to situate themselves historically in the broad field of Shakespeare performance studies and equips them with analytical tools and conceptual frameworks for making their own contributions to the field.

This article examines what the emerging field of rehearsal studies can offer scholars of Shakespeare in performance. It draws on research undertaken alongside the staging of Sir William Davenant's adaptation of Macbeth (1664) at the Folger Theatre in Washington DC in August 2018—part of the research project "Performing Restoration Shakespeare"—to examine how rehearsal studies might be brought into useful dialogue with Shakespeare performance historiography. In this article we use our experience in that research project to outline a methodology for examining early modern plays through contemporary performance practice. As such, it represents a new application of the methodology of rehearsal studies, which until now has primarily been used to examine the processes and politics of contemporary theatre practice. This article contributes to the growing body of literature exploring practice-as-research in the field of Shakespeare performance studies, arguing for the value of observation and critical analysis of twenty-first century staging methods of early modern drama by theatre historians. In so doing, it outlines a model for collaboration between theatre scholars and professional practitioners that engages with and learns from the knowledge generated through the embodied process of rehearsal.

Miss Eily O'Connor (1861), by H.J. Byron 1863 - or, the Sensations of the Past Season (1863), by H.J. Byron The Very Latest Edition of Black-Eyed Susan (1866), by F.C. Burnand The Corsican 'Bothers' (1869), by H.J. Byron The Poet and the Puppets (1892), by Charles H.E. Brookfield and James Glover List of Representative Victorian Burlesques.

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This is the first book on British theatre historiography. It traces the practice of theatre history from its origins in the Restoration to its emergence as an academic discipline in the early twentieth century. In this compelling revisionist study, Richard Schoch reclaims the deep history of British theatre history, valorizing the usually overlooked scholarship undertaken by antiquarians, booksellers, bibliographers, journalists and theatrical insiders, none of whom considered themselves to be professional historians. Drawing together deep archival research, close readings of historical texts from the seventeenth, eighteenth and nineteenth centuries, and an awareness of contemporary debates about disciplinary practice, Schoch overturns received interpretations of British theatre historiography and shows that the practice - and the diverse practitioners - of theatre history were far more complicated and far more sophisticated than we had realised. His book is a landmark contribution to how theatre historians today can understand their own history.

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Journal Article Fiona Ritchie and Peter Sabor, eds. Shakespeare in the Eighteenth Century.Gail Marshall, ed. Shakespeare in the Nineteenth Century.Stuart Sillars. Shakespeare, Time and the Victorians: A Pictorial Exploration. Get access Shakespeare in the Eighteenth Century. Edited by Fiona Ritchie and Peter Sabor. Cambridge and New York: Cambridge University Press, 2012. Illus. Pp. xiv + 454. $103.00 cloth.Shakespeare in the Nineteenth Century. Edited by Gail Marshall. Cambridge and New York: Cambridge University Press, 2012. Illus. Pp. xvi + 464. $103.00 cloth.Shakespeare, Time and the Victorians: A Pictorial Exploration, By Stuart Sillars. Cambridge and New York: Cambridge University Press, 2012. Illus. Pp. xxiv + 360. $103.00 cloth. Richard W. Schoch Richard W. Schoch Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 65, Issue 1, Spring 2014, Pages 74–85, https://doi.org/10.1353/shq.2014.0005 Published: 01 April 2014