''A fascinating account of the trials and tribulations behind what turned into a triumphant South African production of Shakespeare's bloodiest tragedy, Titus Andronicus' (Independent). Shakespeare in Tarantino mode is how actor Antony Sher and director Gregory Doran describe Titus Andronicus, one of the most violent plays ever written. They decided to mount a production at the celebrated Market Theatre in Johannesburg with a top South African multi-racial cast. This is an account of their extraordinary journey- from the historic first visit of the Royal National Theatre Studio to South Africa in 1994, to the rehearsals and controversial opening of Titus at the Market, and the acclaim that greeted its subsequent performances in London, Leeds and Spain. This is not only a fascinating insight into how a director and actor approach a classic play, it is also a portrait of theatre in South Africa, emerging from the dark ages of apartheid, and a moving and often funny account of Antony Sher's professional debut in his homeland.''

"Roston offers detailed and essentially new analyses of works by Spenser, Shakespeare, Jonson, and Donne, arguing that the seemingly contradictory presence of traditional and subversive elements in their major works actually creates the source of much of their literary achievement"--Provided by publisher.

"In 1982, rising actor and recent Royal Shakespeare Company arrival Antony Sher played the Fool to Michael Gambon's King in the RSC's production of King Lear. Shortly after, he came back to Stratford to play Richard III - a breakthrough performance that would transform his career, winning him the Laurence Olivier, Evening Standard and Critics' Circle Theatre Awards for Best Actor. Sher's record of the making of this historic theatrical event, Year of the King, has become a classic of theatre writing, a unique insight into the creation of a landmark Shakespearean performance. More than thirty years later, Antony Sher returned to Lear, this time in the title role, for the 2016 RSC production directed by Gregory Doran. Sher's performance was acclaimed by the Telegraph as 'a crowning achievement in a major career', and the show transferred from Stratford to London's Barbican. Once again, he kept a diary, capturing every step of his personal and creative journey to opening night. This book, Year of the Mad King: The Lear Diaries, is Sher's account of researching, rehearsing and performing one of Shakespeare's greatest roles. His honest, illuminating and witty commentary provides an intimate, first-hand look at the development of his Lear and the production as a whole. Also included are a selection of his paintings and sketches, many reproduced in full colour. Like his Year of the King and Year of the Fat Knight: The Falstaff Diaries before it, Year of the Mad King offers a fascinating perspective on the process of one of the greatest Shakespearean actors of his generation."--Provided by publisher.

"Year of the Fat Knight is Antony Sher's account -- splendidly supplemented by his own paintings and sketches -- of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters. He tells us how he had doubts about playing the part at all, how he sought to reconcile Falstaff's obesity, drunkenness, cowardice and charm, how he wrestled with the fat suit needed to bulk him up, and how he explored the complexities and contradictions of this comic yet often dangerous personality. On the way, Sher paints a uniquely close-up portrait of the RSC at work."--Book jacket.

This book explores how recollections and traces of the reign of Richard III survived a century and more to influence the world and work of William Shakespeare. In Richard III, Shakespeare depicts an era that had only recently passed beyond the horizon of living memory. The years between Shakespeare's birth in 1564 and the composition of the play in the early 1590s would have seen the deaths of the last witnesses to Richard's reign. Yet even after the extinction of memory, traces of the Yorkist era abounded in Elizabethan England - traces in the forms of material artefacts and buildings, popular traditions, textual records, and administrative and religious institutions and practices. Other traces had notoriously disappeared, not least the bodies of the princes reputedly murdered in the Tower, and the King's own body, which remained lost until its apparent rediscovery in the summer of 2012. Shakespeare and the Remains of Richard III charts the often complex careers of these pieces of the past over the course of a century framed on one side by the historical reign of Richard III (1483-85) and on the other by Shakespeare's play. Drawing on recent work in fields including archaeology, memory studies, and material biography, this book offers a fresh approach to the cultural history of the Tudor era, as well as a fundamentally new interpretation of the wellsprings and preoccupations of Richard III. The final emphasis is not only on what Shakespeare does with the traces of Richard's reign but also on what those traces do through Shakespeare - the play, in spite of its own pessimistic assumptions about history, has become the medium whereby certain fragments and remains of a long-lost world live on into the present day.

The Time Is Out of Joint handles the Shakespearean oeuvre from a philosophical perspective, finding that Shakespeare's historical dramas reflect on issues and reveal puzzles which were taken up by philosophy proper only in the centuries following them. Shakespeare's extraordinary handling of time and temporality, the difference between truth and fact, that of theory, and that of interpretation and revelatory truth are evaluated in terms of Shakespeare's own conjectural endeavors, and are compared with early modern, modern, and postmodern thought. Heller shows that modernity, which recognized itself in Shakespeare only from the time of Romanticism, found in Shakespeare's work a revelatory character which marked the end of both metaphysical system-building and a tragic reckoning with the inaccessibility of an absolute, timeless truth. Heller distinguishes the four stages found in constantly unique relation in Shakespeare's work (historical, personal, political, and existential) and probes their significance as time comes to fall "out of joint" and may be again set aright. Rather than initially bestowing upon Shakespeare the dubious honorary title of philosopher , Heller probes the concretely situated reflections of characters who must face a blind and irrational fate either without taking responsibility for the discordance of time, or with a responsibility which may both transform history into politics, and set right the time which is out of joint. In the ruminations and undertakings of these characters, Shakespeare's dramas present a philosophy of history, a political philosophy, and a philosophy of (im)moral personality. Heller weighs each as distinctly modern confrontations with the possibility of truth and virtue within a human historical condition no less multifarious for its momentariness.