See, for example, the promptbook
printed in [John] Bell's Edition of Shakespeare's Plays, they are now performed at the Theatres Royal in London; Regulated from the Prompt Books of Each House, 3 vols.
While combing through our promptbooks
for candidates to include in the exhibition," explains Eric Colleary, the Ransom Center's curator of theatre and performing arts and a curator of the exhibition, "I learned we had John Wilkes Booth's promptbook
for Richard III, with extensive notes about the production written in his own hand.
with handwritten annotations, 1908 or 1909.
Not many standardized taxonomy vocabularies will include Promptbook
or Rehearsal Report as these are specialized terms pertaining only to scenarios found in the theatre world.
16) Almost a third of Rowley's lines are struck or blocked out in the promptbook
with the word "No" written in the margin, and in addition to a number of individual word changes about fifty of Poel's own lines are added to the text.
This edition has been made possible through the existence of a four-volume annotated Promptbook
in the J.
The original SPs throughout this scene, which denote actors' (or intended actors') names, betray the marks of the play's composition, and perhaps that the copy-text that served as the basis for Q was a promptbook
used in the theatre (and hence puzzled over by a compositor).
Barber's choice of words is particularly intriguing, given that Barton's manuductive Helen--her beauty a mere figment of Faustus's imagination--was clearly a masturbatory fantasy on the part of the doomed scholar, especially given promptbook
directions that call for Lucifer and Beelzebub to watch as Mephistophilis tucks Faustus and his puppet Helen in bed before eventually removing the figure and leaving Faustus in bed alone (Doctor Faustus Promptbook
He then explains that Taylor 'turned the consensus upside down, arguing that F derives from the promptbook
, and Q from foul papers' (p.
Although they use their hypothetical history of the texts to support their emendatory rules, they do not posit, as is lately common, "any particular lost text, be it holograph, promptbook
or performance" behind their copy-text when they emend it, only the recognition that "somewhere behind each text lies an authorial manuscript" (510).
However, my recent examination of the promptbook
Richard Schoch uncovers what the Victorian promptbook
fails to preserve; Simon Palfrey and Tiffany Stern elucidate the implications of "sides" to early modern acting; Lanier calls up the spirit of the Master that haunts Audio Shakespeare; Ric Knowles demonstrates how the conditions of reception color the record of performance; Susan Bennett takes into account the tourist economies that motor Shakespeare festivals; James Bulman reveals the present-day reverberations of 'period' (all male) casting; Michael Cordner shows the poor accountability of Shakespeare editions to mise-en-scene; and in two separate but complementary essays, Yong Li Lan and Joanne Tompkins unfold the purposefulness and performativity of "non-understanding" to Shakespeare in intercultural performance (Lan, 533).