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New Directions: The Confessional Identities of ‘Tis Pity She’s a Whore

Gillian Woods

Gillian Woods is Lecturer in Renaissance Literature and Theatre at Birkbeck College, University of London, UK. Author affiliation details are correct at time of print publication.

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’Tis Pity She’s A Whore : A Critical Guide

Bloomsbury Arden Shakespeare, 2010

Books

2

...John Ford ,’Tis Pity She’s a Whore , ed. Martin Wiggins ( London : A&C Black, 2003), I.i.13–17. All further...

Understanding Dumb Shows and Interpreting The White Devil

Gillian Woods

Gillian Woods is Lecturer in Renaissance Literature and Theatre at Birkbeck College, University of London, UK. Author affiliation details are correct at time of print publication.

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Stage Directions and Shakespearean Theatre

The Arden Shakespeare, 2017

Books

2

...In the middle of a rant about bad theatre, Hamlet sneers at ‘the Groundlings: who (for the most part) are capeable of nothing, but inexplicable dumbe shewes, & noise’ (oo5v). Unless otherwise stated, all references to Shakespeare...

Learning and Teaching Resources

Gillian Woods

Gillian Woods is Lecturer in Renaissance Literature and Theatre at Birkbeck College, University of London, UK. Author affiliation details are correct at time of print publication.

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and

Laura Seymour

Laura Seymour

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King Henry V : A Critical Reader

The Arden Shakespeare, 2019

Books

2

...War criminal or national hero? Patriotic myth or deconstructed history? As a play which survives in two texts, and in which critics since Rabkin have found a double vision, Henry V lends itself well to debates that keep classrooms lively...

Introduction

Sarah Dustagheer

Sarah Dustagheer is Lecturer in Early Modern Literature at the University of Kent, UK. Author affiliation details are correct at time of print publication.

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and

Gillian Woods

Gillian Woods is Lecturer in Renaissance Literature and Theatre at Birkbeck College, University of London, UK. Author affiliation details are correct at time of print publication.

Search for publications

Stage Directions and Shakespearean Theatre

The Arden Shakespeare, 2017

Books

4

... allows us to access ‘the central crux of Malfi’, as a play that engaged with ‘the destruction of the body, the voice, and individual agency’. In the final chapter of the book, Gillian Woods returns to the form of stage direction with which...