bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Three Openings in the frons
Authors: Gurr Andrew , Ichikawa Mariko 
Published: November 2023

Abstract
It is generally agreed that Shakespeare’s playhouses had three entry ways in the frons, i.e. two flanking doors and a central doorway or aperture. The bald direction ‘Enter’ or ‘Exit/Exeunt’ ignores this multiple resource, and any conceptualization of the early staging must identify which of the various openings the players would normally expect to use. The flanking doors were the standard means of entry for most of the characters, and the ways these entry-points were used need to be considered first.
A break between Shakespearian scenes generally begins with the departure of all characters, and the new scene opens with the entrance of other characters. What we will call Postulate A here assumes that the closing exit of a scene and the opening entrance of the next scene are usually made through different doors. Even if the closing exit of one scene and the opening entrance of the next do not overlap, it is certain that the enterers had to be in position behind the opposite door to that used by the exiters, before they complete their exit. If the enterers failed to do so, the scene changes would not flow smoothly.
The Early Staging of Hamlet
Authors: Gurr Andrew , Ichikawa Mariko 
Published: November 2023

Abstract
All theatre is about seeming and pretence. Shakespeare and some of his peers called it counterfeiting, passing false coin on the pretence that it is genuine. Hamlet is largely about that concept of acting as deception, its narrative the pretend performance of an ‘act’ of revenge, in which a play-actor enacts actions that a man might play, unseriously. Through the first half of the play Hamlet himself is constantly exercised to question the seeming and deception surrounding him at Elsinore. In the original staging the element of metatheatre in all that pretence was underlined for the audience from the opening words. The curt exchange between the sentries in the first six lines spoken tells us that it is very late at night (‘’Tis now struck twelve’ ), and that ‘’Tis bitter cold’.
Shakespeare and National Revivals
Authors: Stříbrný Zdeněk 
Published: November 2023

Abstract
This chapter takes us back to the mid-eighteenth century when remarkable movements in continental cultural and political life began, continuing well into the nineteenth century, with most momentous repercussions reaching into our own days. It all started in Germany where the middle classes, despite their religious, political, and economic fragmentation into numerous smaller and larger states, felt strong enough to assert their own culture, differentiating themselves from the aristocratic courts steeped in French tradition. As far as theatres were concerned, the dichotomy between court theatres, which tended to preserve the neoclassical hegemony of French tragedy and comedy, and the German strolling companies with their freewheeling repertoires inherited from the English Comedians, was beginning to dissolve.
Shakespeare behind the Iron Curtain
Authors: Stříbrný Zdeněk 
Published: November 2023

Abstract
The sweeping victories of the Soviet Army and Western Allies over Hitler’s last resistance in 1945 were greeted with enthusiasm all over Eastern Europe. It was not long, however, before it was apparent that Stalin had decided to enlarge and buttress his empire by dictatorial methods. Except for Austria, which managed to achieve neutrality, all East European countries, including East Germany (from 1949 called officially the German Democratic Republic), were turned successively into totalitarian states in which the Communist parties assumed all the decisive power. As early as 1946, Winston Churchill sounded an emotional note of warning in his talk at Westminster College, Fulton (Missouri).
Post-Communist Shakespeare
Authors: Stříbrný Zdeněk 
Published: November 2023

Abstract
The collapse of totalitarian regimes in Eastern Europe by the end of 1989 took very different courses, from the shortest and the merriest ‘velvet revolution’ in Czechoslovakia to the hasty political trials and ghastly televised executions of the Communist dictator and his wife in Romania. A peaceful separation between Slovakia and the Czech Republic had its counterpart in the furious nationalist wars, ethnic cleansings, atrocious racial rapes, and massacres in the Balkans.
Shakespeare’s Dramatic Genres
Authors: Danson Lawrence 
Published: November 2023

Abstract
Oxford Shakespeare Topics provides students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. Notes and a critical guide to further reading equip the interested reader with the means to broaden research. The history of the genres, or kinds, of drama is one of contradictory traditions and complex cultural assumptions. The divisions established by the original edition of Mr. William Shakespeare's Comedies, Histories, and Tragedies (the First Folio, 1623) give shape to whole curricula; but, as Lawrence Danson reminds us in this lively book, there is nothing inevitable, and much unsatisfying, about that tripartite scheme. Yet students of Shakespeare cannot avoid thinking about questions of genre; often they are the unspoken reason why classrooms full of smart people fail to agree on basic interpretative issues. Danson's guide to the kinds of Shakespearian drama provides an accessible account of genre-theory in Shakespeare's day, an overview of the genres on the Elizabethan stage, and a provocative look at the full range of Shakespeare's comedies, histories, and tragedies.
Epilogue
Authors: Danson Lawrence 
Published: November 2023

Abstract
WHAT has become of the genres? I go to my video store and find a whole section called Comedy. But none called Tragedy or Satire or History or Tragicomedy. Instead there’s a huge undifferentiated section called Drama. For tragedies I have to look in a small section called Classics: mostly what I find there are Shakespeare’s tragedies, mixed up with some of his comedies and some BBC adaptations of Victorian novels. There are a few tragedies by modern playwrights-Eugene O’Neill’s Mourning Becomes Electra, Tennessee Williams’s A Streetcar Named Desire, Arthur Miller’s Death of a Salesman; but they strike me as attempts to revive a category no one in the video store believes in any more. Where did it go, the whole elaborate structure of genre-theory and its related practice from Aristotle to Alexander Pope?
Introduction
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The art of theatre is notoriously ephemeral, yet anyone who believes that Shakespeare wrote primarily to be performed must also believe that we can increase our enjoyment and understanding of the texts that have come down to us both by seeing them performed and by knowing about how they have been performed in the past. Ben Jonson wrote of one of his masques ‘only the envy was that it lasted not still, or, now it is past, cannot by imagination, much less description, be recovered to a part of that spirit it had in the gliding by.” But this is over-pessimistic.
[c.1738 ], Thomas Davies (c.1712-85) on Colley Cibber (1671-1757) at the Theatre Royal, Drury Lane, London, as Justice Shallow in Henry the Fourth, Part Two, from Dramatic Micellanies [sic], 3 vols. (1784), i. 306-7.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Thomas Davies was an actor turned bookseller and publisher whose Dramatic Micellanies, consisting of critical observations on several plays of Shakespeare, with a review of his principal characters and those of various eminent writers, as represented by Mr Garrick and other celebrated comedians, appeared first in 1784. Justice Shallow in Henry the Fourth, Part Two was one of Cibber’s best roles. He ostensibly retired from the stage in 1733 but reappeared later, playing Shallow with great success at Drury Lane in the 1738 season. Davies’s account suggests how Cibber capitalized on his own appearance to create an impression of individual character.
[1774-5], Georg Christoph Lichtenberg (1742-99) on David Garrick as Hamlet in his own adaptation at the Theatre Royal, Drury Lane, London, from the Deutsches Museum, translated in Lichtenberg’s Visits to England, edited by M. L. Mare and W. H. 01iarrell (Oxford, 1938), pp. 9-n, 15-17-
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Georg Lichtenberg, German scientist and philosopher, paid two visits to England towards the end of Garrick’s career, in 1770 and 1774”““““5; his accounts of visits to the theatre in letters written in October and November 1775 for publication in a literary periodical, the Deutsches Museum, provide some of the most vivid and detailed descriptions of individual stretches of action in Shakespearian performances ever written. They may be supplemented by entries from Lichtenberg’s diary for 2 and 12 December 1774, on which the letters are based, translated with a commentary by R. B. Sutton, ‘Further Evidence of David Garrick’s Portrayal of Hamlet from the Diary of Georg Christoph Lichtenberg’, Theatre Notebook, 50 (1996), pp. 8-14.
21 December 1817, John Keats (1795-1821) on Edmund Kean as a Shakespearian actor, and John Hamilton Reynolds (1796-1852) on Kean at the Theatre Royal, Drury Lane, London, as Richard, Duke of York in the play of that name adapted by John Herman Merivale (1779-1844) from Henry the Sixth, Parts One, Two, and Three; from The Champion, reprinted in The Poetical Works and Other Writings of john Keats, ed. H. Buxton Forman, revised with additions by Maurice Buxton Forman (Hampstead edition), 8 vols. (New York, 1939), v. 227-46.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The first of the reviews cited here was written by the poet Keats to help out his friend Reynolds, who at the time was reviewing for The Champion. A great admirer of Kean, Keats wrote a play, Otho the Great, in collaboration with his friend George Brown, and started another, King Stephen, in 1818, hoping that Kean would play the central roles in both; they abandoned King Stephen on hearing that Kean was planning an American tour.
18 March 1838, John Forster on W. C. Macready as Coriolanus at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Dramatic Essays by John Forster, George Henry Lewes, ed. William Archer and Robert W. Lowe (1896), pp. 54-65.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Macready’s first Coriolanus is reviewed on pp. 5cr-61. By the time he came to present the play under his own management, in 1838, historically based pictorialism had begun to exert the influence on Shakespeare production that was to dominate the rest of the century and beyond. The opening paragraph of Forster’s review helps to explain the growing appeal of this kind of staging.He presentation of this play at Covent Garden Theatre on Monday night last may be esteemed the worthiest tribute to the genius and fame of Shakespeare that has been yet attempted on the English stage. We have had nothing to compare with it, even in Mr. Macready’s management. Magnificent as the revivals of Hamlet, Othello, Lear, and Macbeth have been, this of Coriolanus surpasses them all, in the opportunity it has afforded of presenting together upon the stage those striking characteristics,
21 October 1854, Henry Morley on Samuel Phelps’s production of Pericles at the Sadler’s Wells Theatre, London, in his The journal of a London Playgoer (1866; repr. 1891), pp. 78-84.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Phelps’S production of Pericles illustrates his missionary zeal; the play had remained unperformed since 1738, when it had been given with little success in a heavily adapted version, Marina, by George Lillo (1693-1739). As Morley’s account makes clear, Phelps, too, considerably altered the play, adding passages of his own composition, and making the most of the opportunities for spectacle. I omit Morley’s lengthy summary of the plot.
10 April 1875, Joseph Knight (1829-1907) on Tommaso Salvini (1829-1915) as Othello, from his Theatrical Notes (1875), pp. 19-25.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Knight was appointed theatre critic of The Literary Gazette in 1860, and wrote for The Athenaeum from 1867 until he died. He edited Notes and Queries from 1883 until 1907. Salvini was a great Italian actor who won international acclaim as, especially, Hamlet and Othello. He toured extensively, usually (as in the produc vided additions as the rupture of a bladder of blood, which the actor might place within reach, the exhibition of a bleeding. throat, and a stream of blood serpenting upon the floor, to reach the limits of attainable realism. Tendencies in the direction of this kind of so-called art were seen in Signora Ristori, and marred her marvellously artistic impersonations. In the present case ·their effect is singularly detrimental to the artistic value of the performance.
6 July 1895, Bernard Shaw (1856-1959) on The Two Gentlemen of Verona, produced by Augustin Daly (1838-99) at Daly’s Theatre, London; from The Saturday Review, reprinted in Shaw on Shakespeare, pp. 192-7.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The piece founded by Augustin Daly on Shakespear’s Two Gentlemen of Verona, to which I looked forward last week, is not exactly a comic opera, though there is plenty of music in it, and not exactly a serpentine dance, though it proceeds under a play of changing colored lights. It is something more old-fashioned than either: to wit, a vaudeville.
4 December 1899, C. E. Montague (1867-1928) on Frank Benson (1858-1939) as Richard II, reprinted in The Manchester Stage I880-I900: Criticisms reprinted from ‘The Manchester Guardian’ (n.d.), pp. 76-87, and in Specimens of English Dramatic Criticism, ed. A. C. Ward (1945), pp. 223-32.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Benson was a touring actor-manager, talented and athletic, especially associated with the Stratford Festival. He was knighted in 1916. His company provided a valuable training ground for young actors, who were especially welcome if they displayed talent as sportsmen.
8 April 1905, Max Beerbohm on H. B. Irving (1870-1928) as Hamlet at the Adelphi Theatre, London; from The Saturday Review, reprinted in his Last Theatres (1970), pp. 147-52.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
It is hardly too much to say, in reference to this latest production of what is perhaps the masterpiece of our great national poet, that the ghost of Hamlet’s father is the most impressive within our recollection. Heartiest commendation is due to Mr Maskelyne for having contrived in co-operation {as the programme informs us) with the Committee of the Society for Psychical Research, an illusion so abundantly convincing. The vague diaphanous form scarcely palpable to the audience, and the faint twittering sounds emitted through it by Mr Horne,2 the well-known ventriloquist-sounds in which, most rightly, only a word here and there was distinguishable-combined to make for the first time credible to us the hitherto somewhat disconcerting scene between the youthful prince and his much-wronged parent.’ ... This is a fragment of dramatic criticism in a morning newspaper which has somehow been wafted to me from the year 1924 It is interesting, as a document.
6 December 1991, Paul Taylor on As You Like It, directed by Declan Donnellan (born 1953) for the touring company Cheek by Jowl; from The Independent.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The odds against a strapping 6ft black male actor being able to create not just a convincing but a captivating Rosalind are, you might have thought, fairly formidable. Adrian Lester1 makes short work of this assumption, however, in Cheek By Jowls delightful all-male production of As You Like It now to be seen at the Lyric, Hammersmith. The company’s director, Declan Donnellan, has always been mischievously alert to the sexual politics that are in play in the disguise-conventions of Shakespearean comedy. At the end of his version of Twelfth Night,2 for example, Viola wisely forced Orsino to feel her breasts, as if to remind him that this person he has fallen in love with (but oddly enough never seen except in male costume), is no boy.
The Latin West
Authors: Reynolds L D , Wilson N G 
Published: November 2023

Abstract
The sixth century saw the final collapse of what remained of the Roman empire in the West. In Italy the relatively enlightened rule of Theodoric (493-526) was given distinction by the two most notable figures of the transition period from the ancient to the medieval world, Boethius and Cassiodorus; but it was followed by the destruction of the Ostrogothic kingdom by the Byzantines and a spectacular cultural decline. The provinces were to fare little better. North Africa, now in Vandal hands, was soon to pass beyond the pale of Western culture; some of its literary achievement, such as the Latin Anthology, was transmitted in time to Europe and so to posterity. Spain, prey to external attack and internal strife, was to see a revival ofVisigothic culture in the later sixth and early seventh centuries, reaching a modest peak in Isidore of Seville, but it too was to succumb in the early eighth century to the Moslem invaders. Though traces of the older Roman culture lingered on among the upper classes in Gaul, the Frankish Merovingian dynasty founded by Clovis (481-5II) was grotesquely ill-suited to foster any cultural continuity.
Some Aspects of Scholarship Since The Renaissance
Authors: Reynolds L D , Wilson N G 
Published: November 2023

Abstract
The progress of scholarship in the sixteenth century was hampered by continuing religious controversy. Although Bessarion had been stimulated by such controversy to write two short books of great importance for the development of critical method, it is not easy to discover equally fruitful controversies among the contemporaries of Erasmus or in the next generation. Erasmus himself, though he had exploited the work of Valla and Bessarion for his edition of the New Testament and was aware of Politian’s eminence as a scholar, did not possess the palaeographical skill that might have led to further advances; and as he settled at Basie, while most of the best working libraries with manuscript collections were still at that date to be found south of the Alps, he could scarcely hope to add greatly to his experience in dealing with manuscripts. Religious disputes took up much of his time and energy in later years, and in 1524 we find him complaining (Epist. 1531) that the struggle between Luther and his opponents had become such a preoccupation in literary circles that the book trade was affected, and in the German-speaking parts of Europe it was hardly possible to sell books on any other topic.
Title
Authors: Harding Phillip 
Published: November 2023

Abstract
Atthis or The Atthis is the name given in the great majority of our sources to the local history of Attica. It denotes both the work (i.e. as so-and-so says in the Atthis) and the material covered in the work (i.e. what is sometimes referred to as the Atthidographic tradition). ‘Atthidography’ is a modern term that denotes the writing of an Atthis, or the genre. ‘Atthidographer(s)’ is, likewise, the name given by modern scholars to the individual authors of an Atthis, or, collectively, to the whole group that wrote Atthides. In antiquity the collective form of reference was used in the periphrasis ‘those who composed (or organized) the Atthides’ (see Schwartz, RE (1896) col. 2182 for references).
Form
Authors: Harding Phillip 
Published: November 2023

Abstract
Despite the originality of its name, it is quite clear from both its subject matter and the known approach to historiography of its originator, Hellanikos, that the Atthis belongs to the genre of historical writing called. Local History (horographia, ‘annals’) that had been invented in Ionia in the mid-fifth century (Jacoby, Atthis, 68-70; Text, 1-2.). Furthermore, we have the explicit testimony of Dionysius of Halicarnassus (Ant. Rom. 1. 8. 3) to the fact that the Atthides were chronicles. To this can be added the statement that is specifically about Philochoros, that he ‘encompasses the deeds of the Athenians and their kings and their archons’ (Souda s.v. Philochoros). And this point becomes all the clearer from study of the fragments, where we can see that (from 683/2. onwards) the list of annual magistrates (the eponymous archon) forms the backbone of the Atthis. From the evidence available (largely from Philochoros, but see comm. on F44) we can be sure that each year’s heading began with the name of the archon, attached to which was some identification (in our extant examples, his demotic‑deme-name). This was followed by a series of short entries for the events of that administrative year, organized chronologic ally. The first entry for each year was introduced by the formula, ‘in the time of this man … ’ (see F44). We might call this part of the Atthis the ‘historical part’, because it dealt with a period for which records could be available, though obviously the entries became more detailed and more factually accurate for events after about the beginning of the fifth century (see below, §6 Sources).
Content
Authors: Harding Phillip 
Published: November 2023

Abstract
Whilst politics was a major component, as one would expect in the local history of any polis, and international affairs and warfare took a prominent place, which is also not surprising because Athens became an imperial power, one finds in the fragments a great interest in local cult and festival, in family tradition, in eco nomics, geography, and ethnography; in short the whole range of subject matter one would usually associate with a chronicle of local affairs such as the Atthis was (see Commentary, passim; Harding, 1977, 158-9).
Character of the Atthis
Authors: Harding Phillip 
Published: November 2023

Abstract
The first exploration of the character of the Atthides was that of Wilamowitz. As we have seen he perceived it as an essentially democratic medium, based upon a kind of documentary source, the pre-literary chronicle of the exegetai (Ar.u.Ath. i. 260-90). His view has been replaced, as far as modern scholarship goes, by Jacoby’s great study of the genre in his Atthis. There Jacoby put forward his theory of the ‘political conception of the Atthis’, the idea that ‘political war was waged from the fifties of the fourth In sum, we have a man who, while he was not a great historian, was not without intelligence, concern for detail, or experience in the affairs he was most concerned to describe. His account of fourth-century Athenian history, especially the years 360-340, would have been of great value.
Relationship Of Androtion’S Atthis To Other Works
Authors: Harding Phillip 
Published: November 2023

Abstract
In this final section I will review briefly the use made by later writers of Androtion’s Atthis to see what this might tell us about the character and quality of his work. I shall not, consequently, be wasting any time on the unfounded theory of G. de Sanctis, that Androtion was the author of the so-called Hellenika Oxyrhynchia (first advanced in 1908). This was decisively refuted by Bloch (1940, 328-34; cf. Harding, 1987b, 101).
Akharnians
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
Akharnians was performed at the Lenaia in 42 5 B c , and won the first prize. It is a play about war and peace. The Peloponnesian War between Athens and Sparta was already in its sixth year and there was no prospect of an early end to it. The chief character of the play, Dikaiopolis, hates the war, but he fails to persuade the other Athenians to consider how peace can be made. He therefore, by fantastic means, makes a separate peace treaty for himself and his family, to the horror of the warlike old men of Akharnai who form the chorus.