Professor Tiffany Stern

MA (Oxon), MPhil, PhD (Cantab)
Beaverbrook and Bouverie Fellow and Tutor in English, University College, Oxford
Professor of Early Modern Drama, 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 current project is to complete two editions, George Farquhar’s Recruiting Officer (New Mermaids, A & C Black), and Richard Brome’s Jovial Crew (Arden Early Modern Drama). She is a general editor of the New Mermaids play series, and is on the editorial board of the journals Review of English Studies, Shakespeare, Shakespeare Bulletin and Shakespeare Yearbook.

Supervision Interests

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

Selective 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

William Shakespeare, Merry Wives (New York: Barnes and Noble, forthcoming)

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

‘Middleton’s Collaborators in Music and Song’, The Oxford Handbook to Middleton ed. Gary Taylor and Trish Thomas Henley (Oxford: Oxford University Press, 2010 forthcoming)

‘Shakespeare and Drama’, Shakespeare in the Eighteenth Century ed. Fiona Ritchie and Peter Sabor (Cambridge: Cambridge University Press, 2010 forthcoming)

‘“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 (Cambridge: Cambridge University Press, 2010 forthcoming)

‘“I Have Both the Note, and Dittie About Me”: Songs on the Early Modern Stage’ in Common Knowledge (Durham, NC: Duke University Press, 2010 forthcoming)

‘Jonson and the Open-air Amphitheatres’ in Jonson in Context ed. Julie Sanders (Cambridge: Cambridge University Press, 2010 forthcoming)

‘Rehearsal’, ‘Prologues’, ‘Actors’ Parts’, ‘Playbills’, ‘Titleboards’, ‘Prompters’, ‘Playbooks’ in Shakespeare Encyclopedia gen. ed. Patricia Parker (Westport CT: Greenwood Press, 2010 forthcoming)

‘The Theatre of Shakespeare’s London: Actors, Theatres, Playgoers, Court v. Playhouse’ in The Cambridge Companion to Shakespeare: Second Edition ed. Margreta de Grazia and Stanley Wells (Cambridge: Cambridge University Press, 2010 forthcoming)

‘“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),

‘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, 2007)

‘“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)

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

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

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

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

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

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

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

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