Cutting, interruption, and the end of Hamlet

Research output: Contribution to journalArticlepeer-review

Standard

Cutting, interruption, and the end of Hamlet. / Dobson, Michael.

In: New Theatre Quarterly, Vol. 32, No. 3, 01.08.2016, p. 269-275.

Research output: Contribution to journalArticlepeer-review

Harvard

APA

Vancouver

Author

Bibtex

@article{4ab0d814a22547b68a23e9c066b82e37,
title = "Cutting, interruption, and the end of Hamlet",
abstract = "In this essay Michael Dobson considers the evolution of certain habitual cuts to the text of Hamlet between the seventeenth and early twentieth centuries, identifying in particular a tendency to increase the abruptness with which the play's last act interrupts its otherwise digressive movement. Looking in particular at the fate of Fortinbras, he examines changes to the ways in which these cuts have been indicated to readers, arguing that a decisive separation between the play as read and as acted makes itself felt at the turn of the nineteenth century. He concludes with a discussion of when and why it became desirable to advertise not manageably edited stage versions, but {\textquoteleft}uncut{\textquoteright} marathons. Michael Dobson is Director of the Shakespeare Institute in Stratford-upon-Avon and Professor of Shakespeare Studies at the University of Birmingham. His publications include the co-editorship of The Oxford Companion to Shakespeare, Shakespeare and Amateur Performance, Performing Shakespeare's Tragedies Today, and The Making of the National Poet.",
keywords = "acting editions of Shakespeare, textual variants, Garrick, Kemble",
author = "Michael Dobson",
year = "2016",
month = aug,
day = "1",
doi = "10.1017/S0266464X16000245",
language = "English",
volume = "32",
pages = "269--275",
journal = "New Theatre Quarterly",
issn = "0266-464X",
publisher = "Cambridge University Press",
number = "3",

}

RIS

TY - JOUR

T1 - Cutting, interruption, and the end of Hamlet

AU - Dobson, Michael

PY - 2016/8/1

Y1 - 2016/8/1

N2 - In this essay Michael Dobson considers the evolution of certain habitual cuts to the text of Hamlet between the seventeenth and early twentieth centuries, identifying in particular a tendency to increase the abruptness with which the play's last act interrupts its otherwise digressive movement. Looking in particular at the fate of Fortinbras, he examines changes to the ways in which these cuts have been indicated to readers, arguing that a decisive separation between the play as read and as acted makes itself felt at the turn of the nineteenth century. He concludes with a discussion of when and why it became desirable to advertise not manageably edited stage versions, but ‘uncut’ marathons. Michael Dobson is Director of the Shakespeare Institute in Stratford-upon-Avon and Professor of Shakespeare Studies at the University of Birmingham. His publications include the co-editorship of The Oxford Companion to Shakespeare, Shakespeare and Amateur Performance, Performing Shakespeare's Tragedies Today, and The Making of the National Poet.

AB - In this essay Michael Dobson considers the evolution of certain habitual cuts to the text of Hamlet between the seventeenth and early twentieth centuries, identifying in particular a tendency to increase the abruptness with which the play's last act interrupts its otherwise digressive movement. Looking in particular at the fate of Fortinbras, he examines changes to the ways in which these cuts have been indicated to readers, arguing that a decisive separation between the play as read and as acted makes itself felt at the turn of the nineteenth century. He concludes with a discussion of when and why it became desirable to advertise not manageably edited stage versions, but ‘uncut’ marathons. Michael Dobson is Director of the Shakespeare Institute in Stratford-upon-Avon and Professor of Shakespeare Studies at the University of Birmingham. His publications include the co-editorship of The Oxford Companion to Shakespeare, Shakespeare and Amateur Performance, Performing Shakespeare's Tragedies Today, and The Making of the National Poet.

KW - acting editions of Shakespeare

KW - textual variants

KW - Garrick

KW - Kemble

U2 - 10.1017/S0266464X16000245

DO - 10.1017/S0266464X16000245

M3 - Article

VL - 32

SP - 269

EP - 275

JO - New Theatre Quarterly

JF - New Theatre Quarterly

SN - 0266-464X

IS - 3

ER -