Professor Tiffany Stern

MA (Oxon), MPhil, PhD (Cantab)
Beaverbrook and Bouverie Fellow and Tutor in English, University College, Oxford
Lecturer (CUF) in English, Oxford University

Contact Details

(e) tiffany.stern@univ.ox.ac.uk

Research Interests

Tiffany Stern specialises in Shakespeare, theatre history from the sixteenth to the eighteenth century, book history and editing. Her monographs are Rehearsal from Shakespeare to Sheridan (2000), Making Shakespeare (2004), [with Simon Palfrey] Shakespeare in Parts (Oxford: OUP, 2007) – winner of the 2009 David Bevington Award for Best New Book in Early Drama Studies, and Documents of Performance in Early Modern England (Cambridge: CUP, 2009) – winner of the 2010 David Bevington Award for Best New Book in Early Drama Studies. She has edited the anonymous King Leir (2001), Sheridan’s The Rivals (2004), and Farquhar’s Recruiting Officer (2010); her articles and chapters explore bibliographical, editorial, theatrical and architectural concerns from the sixteenth century to the eighteenth. Currently editing Brome’s Jovial Crew, and co-editing a book with Farah Karim-Cooper for Arden Shakespeare, The Effects of Performance in the Theatres of Shakespeare and His Contemporaries, Tiffany is also a general editor of the New Mermaids play series, and is on the editorial board of the journals Shakespeare Bulletin, SEDERI, The Hare and Shakespeare Quarterly.

Supervision Interests

Shakespeare, Early Modern Theatre, Restoration Theatre, Eighteenth Century Theatre, Book History, Editing and Editions.

Publications

Books

Documents of Performance in Early Modern England (Cambridge: Cambridge University Press, 2009)

With Simon Palfrey, Shakespeare in Parts (Oxford: Oxford University Press, 2007)

Making Shakespeare (London: Routledge, 2004)

Rehearsal from Shakespeare to Sheridan (Oxford: Clarendon Press, 2000)

Editions

George Farquhar, The Recruiting Officer for New Mermaids (London: A & C Black Publishers Ltd, 2010)

Richard Sheridan, The Rivals for New Mermaids (London: A & C Black Publishers Ltd, 2004)

King Leir for Globe Quarto Series (London: Nick Hern Books; New York: Routledge, 2002/3)

Chapters and Articles

‘Tragedy and Performance’, The Oxford Handbook to Shakespearean Tragedy ed. Michael Neill and David Schalkwyk (Oxford: Oxford University Press), forthcoming 2013

‘Hamlet: the Dumb Show’, Close-Reading Shakespeare ed. Russ McDonald, Nicholas
Nace and Travis Williams, for Arden Shakespeare (London: Methuen), forthcoming
2012

‘This Wide and Universal Theatre: the Theatre as Prop in Shakespeare’s Metadrama’, The Effects of Performance in the Theatres of Shakespeare and His Contemporaries ed. Farah Karim-Cooper and Tiffany Stern for Arden Shakespeare (London: Methuen), forthcoming 2012

‘(Re:)Historicizing Spontaneity: Original Practices, Stanislavski, and Characterisation’ in Shakespeare’s Sense of Character: on the Page and from the Stage, ed. Yu Jin Ko (Aldershot: Ashgate), forthcoming 2012

‘Nashe and Satirical Fiction’ in Prose Fiction in English from the Origins of Print to 1750 ed. Thomas Keymer (Oxford: Oxford University Press), forthcoming 2012

‘Production Preparation’, The Cambridge Shakespeare Encyclopedia, Volume 1: Shakespeare’s World ed. Bruce Smith (Cambridge: Cambridge University Press), forthcoming 2012

‘Whether one did Contrive, the Other Write, / Or one Fram’d the Plot, the Other did Indite: Fletcher and Theobald as Collaborative Writers’, The Quest for Cardenio ed. David Carnegie and Gary Taylor (Oxford: Oxford University Press), forthcoming 2012

‘Shakespeare and Eighteenth Century Drama’, Shakespeare in the Eighteenth Century ed. Fiona Ritchie and Peter Sabor (Cambridge: Cambridge University Press), 274-305, forthcoming 2012

‘Middleton’s Collaborators in Music and Song’, The Oxford Handbook of Thomas Middleton ed. Gary Taylor and Trish Thomas Henley (Oxford: Oxford University Press), forthcoming 2012

‘Renaissance Drama: Future Directions’, Renaissance Drama, 40, forthcoming 2011

‘Rehearsal’, ‘Prologues’, ‘Actors’ Parts’, ‘Playbills’, ‘Titleboards’, ‘Prompters’, ‘Playbooks’ in The Shakespeare Encyclopedia: Life, Works, World, and Legacy, 5 vols, gen. ed. Patricia Parker (Westport CT: Greenwood Press), in press

‘Forward’, _An Annotated Edition of Joshua Barnes’ The Academie or The Cambridge
Dunns_ ed. Alan Swanson (Lewiston: Edwin Mellen Press, 2011)

‘The Forgery of Some Modern Author’?: Theobald’s Shakespeare and Cardenio’s Double Falsehood, Shakespeare Quarterly, 62.4 (2011), 555-93

‘“I Have Both the Note, and Dittie About Me”: Songs on the Early Modern Stage’, Common Knowledge, 17 (Durham, NC: Duke University Press, 2011), 306-20

‘The Theatre of Shakespeare’s London’ in The New Cambridge Companion to Shakespeare ed. Margreta de Grazia and Stanley Wells (Cambridge: Cambridge University Press, 2010), 45-60

‘Epilogues, Prayers after Plays, and Shakespeare’s 2 Henry IV’, Theatre Notebook, 64 (2010), 122-9

‘The Globe and the Open-air Amphitheatres’ in Ben Jonson in Context ed. Julie Sanders (Cambridge: Cambridge University Press, 2010), 107-15

‘The Curtain is Yours!’ in Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing ed. Helen Ostovich, Holger Schott Syme and Andrew Griffin (Aldershot: Ashgate, 2009), 77-96

‘Actors’ Parts’ in Handbook on Early Modern Theatre ed. Richard Dutton (Oxford: Oxford University Press, 2009), 496-512

‘Right and Wrong on Cue’, Around the Globe (Summer, 2008), 8-9; reprinted in the Globe theatre programme for A Midsummer Night’s Dream (2008), 16-18

‘Watching as Reading: the Audience and Written Text in the Early Modern Playhouse’, How to do Things with Shakespeare ed. Laurie Maguire (Oxford: Blackwell, 2008), 136-59

‘I do wish that you had mentioned Garrick: the absence of Garrick in Johnson’s Shakespeare’ in Comparative Excellence: Essays on Shakespeare and Johnson ed. Eric Rasmussen and Aaron Santesso (New York: AMS Press, 2007), 70-96

‘Taking Part’: Actors and Audience on the Blackfriars Stage’, Inside Shakespeare: Essays on the Blackfriars Stage, ed. Paul Menzer (Selinsgrove: Susquehanna University Press, 2006), 35-53

‘On each Wall / And Corner Post: Playbills, Title-pages, and Advertising in Early Modern London’, English Literary Renaissance (ELR), 36 (2006), 57-85

[with Simon Palfrey], ‘What does the Cued Part Cue?: Parts and Cues in Romeo and Juliet’, Blackwell Companion to Shakespeare and Performance ed. Barbara Hodgdon and William B. Worthen (Oxford: Blackwell, 2005), 179-196

‘A Small-Beer Health to his Second Day: Playwrights, Prologues, and First Performances in the Early Modern Theatre’, Studies in Philology, 101 (2004), 172-199

‘Repatching the Play’, From Script to Stage in Early Modern England, ed. Peter Holland and Stephen Orgel (London: Palgrave, 2004), 151-77

‘Teaching Shakespeare in Higher Education’, Shakespeare in Education, ed. Martin Blocksidge (London: Continuum, 2004), 120-40

New article on Thomas Chapman (c. 1683-1747), New Dictionary of National Biography (Oxford: Oxford University Press, 2004)

‘Greene’s Orlando Furioso: A New Source for the ‘Trial Scene’ in King Lear’, Notes and Queries, 49 (2002), 229-231

‘The Origins of the Theatre in Europe’, ‘Impressionism’, The History of Europe (London: Mitchell Beazley, 2002)

‘Behind the Arras: The Prompter’s Place in the Shakespearean Theatre’, Theatre Notebook, 55 (2001), 110-18

‘Live Rehearsals’, Around the Globe (Spring, 2001), 12-13

‘You that Walk i’th’galleries’: Standing and Walking in the Galleries of the Globe Theatre’, Shakespeare Quarterly, 51 (2000), 211-16

‘Letters, Verses and Double Speech-Prefixes in The Merchant of Venice’, Notes and Queries, 244 (1999), 231-33

‘Putting on Plays in Shakespeare’s Theatre’, The English Review, 10:1 (1999), 34-36

‘Hamlet and Performance in Early Modern London’, The English Review, 10:2 (1999), 2-5

‘The Green-Room Scuffle’, Theatre Notebook, 52 (1998), 115

‘Places Please: Mozart’s Rehearsals’, Glyndebourne Touring Opera Programme (1998)

‘Was Totus Mundus Agit Histrionem_ever the Motto of the Globe Theatre?’ _Theatre Notebook, 51 (1997), 122-27