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No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews.  \nFirst published in 2005 by PALGRAVE MACMILLAN™  \n175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS Companies and representatives throughout the world.  \nPALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries.  \nISBN 1–4039–7007–6  \nLibrary of Congress Cataloging-in-Publication Data is available from the Library of Congress.  \nA catalogue record for this book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India.  \nFirst edition: November 2005  \n10 9 8 7 6 5 4 3 2 1  \nPrinted in the United States of America.  \nTo Mum, Dad, Finie, Sebastian, and the Georgia Shakespeare Festival  \nThis page intentionally left blank  \nContents  \nList of Illustrations ix  \nAcknowledgments xi  \nIntroduction: The Shakespeare Police 1  \nPart I Principles 9  \nSection I The Shakespearean Dramaturg: A Job Description 15  \nSection II Dramaturgical Issues: The Theory 29  \n1 Theatrical Collaboration and the Construction  \nof Meaning 31  \n2 The Text/Performance Relationship 35  \n3 Adaptation and Authenticity 43  \n4 “As It Was Originally Done”: The Logic Behind  \nHistorical Reconstruction 46  \n5 The Nature and Use-Value of History 51  \n6 Ambiguity and Polyvocality in the Plays 56  \n7 Authorship, Authority, and Authorization 59  \n8 Different Languages 65  \n9 Why Stage Shakespeare? 70  \nPart II Practice 73  \nSection III Before Rehearsals 75  \n10 Preliminaries, Casting, and Directorial Vision 76  \n11 Thinking About Script 88  \n12 Preparing the Script 95  \n13 Script-Editing Examples 115  \nSection IV During Rehearsals 149  \n14 Degree and Nature of Involvement 151  \n15 Tools of the Trade and Research Packets 153  \n16 Knowing Your Audience: Talking to Directors,  \nTalking to Actors 160  \nviii Contents  \n17 The Dramaturg in Rehearsal: A Temporal  \nBreakdown 165  \nSection V Opening and Beyond 181  \n18 Writing for the Audience (Synopses and  \nProgram Notes) 183  \n19 Program Essay Examples 192  \n20 Talking to the Audience 205  \n21 The Dramaturg as Advocate 209  \n22 Evaluating and Sharing your Experience 212  \nNotes 215  \nWorks Cited 227  \nFurther Reading 230  \nIndex 232  \nList of Illustrations  \n10.1 A Midsummer Night’s Dream. GSF 2000, Dir. Garner: Mark Kincaid (Oberon), Saxon Palmer (Puck), Janice Akers (Titania), and Thalia Bauldin (First Fairy) . Photo: Kim Kenney  \n10.2 The Winter’s Tale. GSF 2001, Dir. Garner:  \nRob Cleveland (Polixenes), Anthony Irons (Florized), Allen O’Reilly (Leontes), Tim McDonough (Camillo), Janice Akers (Paulina), Carolyn Cook (Hermione), and Jessica Andary (Perdita) . Photo: Rob Dillard  \n13.1 The Taming of the Shrew. GSF 2002, Dir. Garner:  \nGabra Zackman (Kate) and Saxon Palmer (Petruchio) . Photo: Tom Meyer  \n13.2 Twelfth Night. GSF 2000, Dir. Epstein: Bruce Evers (Sir Toby Belch), Chris Kayser (Sir Andrew Aguecheek) . Photo: Georgia Shakespeare Staff  \n15.1 Comedy of Errors. GSF 1999, Dir. Epstein: Jonathan Davis (Dromio), Peter Ganim (Antipholus), Chris Kayser (Dromio), and Linda Stephens (Balthasar) . Photo: Georgia Shakespeare Staff  \n15.2 Macbeth. GSF 2004, Dir. Fracher: Sherman Fracher (witch), Marni Penning (Lady Macbeth), Daniel May (Macbeth), Alison Hastings (witch), and Bruce Evers (witch) . Photo: Bill DeLoach  \n17.1 Julius Caesar. GSF 2001, Dir. Dillon: Theresa  \nDeB","cbCainoGrRLoXERT","https://ap.wps.com/l/cbCainoGrRLoXERT","pdf",1187887,248,"English","# Introduction: The Shakespeare Police\n# Part I Principles\n## Section I The Shakespearean Dramaturg: A Job Description\n## Section II Dramaturgical Issues: The Theory\n# Part II Practice\n## Section III Before Rehearsals\n## Section IV During Rehearsals\n## Section V Opening and Beyond\n# Notes\n# Works Cited\n# Further Reading\n# Index","[{\"question\":\"What is the purpose of the Shakespearean dramaturg according to the book?\",\"answer\":\"It frames the dramaturg as a role responsible for shaping meaning through collaboration and for guiding interpretive choices across the production process.\"},{\"question\":\"How does the book connect text and performance?\",\"answer\":\"It addresses the relationship between the textual source and stage realization, treating performance as an interpretive construction rather than a simple reproduction.\"},{\"question\":\"What practical tasks does the dramaturg handle before rehearsals and during rehearsals?\",\"answer\":\"Before rehearsals, it covers preparation, scripting, and script-editing examples; during rehearsals, it outlines degrees of involvement, research tools, audience understanding, and the dramaturg’s temporal role.\"}]","The Shakespearean Dramaturg - A Theoretical and Practical Guide | PDF",1789949240,382]