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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>Preface  Bridging the Gap between Text and Performance</TD><TD WIDTH=40></TD><TD VALIGN=TOP>ix</TD><TD></TD></TR><TR><TD>Acknowledgments</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xiii</TD><TD></TD></TR><TR><TD>one Creating Lear Onstage</TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(18)</TD></TR><TR><TD>two Cutting Shakespeare</TD><TD WIDTH=40></TD><TD VALIGN=TOP>19</TD><TD VALIGN=TOP>(12)</TD></TR><TR><TD>three A Director's Concept for The Comedy of Errors</TD><TD WIDTH=40></TD><TD VALIGN=TOP>31</TD><TD VALIGN=TOP>(18)</TD></TR><TR><TD>four Interacting with the Actors  The Merchant of Venice, King Lear, and Hamlet</TD><TD WIDTH=40></TD><TD VALIGN=TOP>49</TD><TD VALIGN=TOP>(14)</TD></TR><TR><TD>five Set Design and Theatrical Presence in Julius Caesar</TD><TD WIDTH=40></TD><TD VALIGN=TOP>63</TD><TD VALIGN=TOP>(10)</TD></TR><TR><TD>six Adapting A Midsummer Night's Dream for the Cast, Producer, and Theater</TD><TD WIDTH=40></TD><TD VALIGN=TOP>73</TD><TD VALIGN=TOP>(14)</TD></TR><TR><TD>seven A Mirror for Staging Hamlet  Rosencrantz and Guildenstern Are Dead</TD><TD WIDTH=40></TD><TD VALIGN=TOP>87</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD>eight "Why, Sir, Is Shakespeare Eternal?"</TD><TD WIDTH=40></TD><TD VALIGN=TOP>107</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD>nine Never Too Young, Never Too Old</TD><TD WIDTH=40></TD><TD VALIGN=TOP>135</TD><TD VALIGN=TOP>(4)</TD></TR><TR><TD>Notes</TD><TD WIDTH=40></TD><TD VALIGN=TOP>139</TD><TD VALIGN=TOP>(6)</TD></TR><TR><TD>Pertinent Sources</TD><TD WIDTH=40></TD><TD VALIGN=TOP>145</TD><TD VALIGN=TOP>(4)</TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>149</TD><TD></TD></TR></TABLE>

"An impossible question from a Chinese actor - "Why is Shakespeare eternal?"--Drove Sidney Homan after fifty years in the theater to ponder just what makes Shakespeare ... well, Shakespeare. The result, Directing Shakespeare, reflects the two worlds in which Homan operates - as a scholar and teacher on campus, and as a director and actor in professional and university theaters." "Professor Sidney Homan's concern is the entire process, beginning in the lonely period when the director develops a concept, and moving into increasingly larger realms: interaction with designers; rehearsals; and performances in which the audience's response further shapes the play."

Directing Shakespeare : a scholar onstage