6. ‘The key to the critical success of the Globe’s
1999 Antony and Cleopatra was the way in
which Rylance’s theatrical persona and
Cleopatra’s theatrical manipulations within the
fiction map onto one another in Rylance’s
performance.’
Bridget Escolme, ‘Mark Rylance’ in The Routledge
Companion to Director’s Shakespeare ed. John Russell
Brown (London: Routledge, 2008), p.417.
11. ‘The celebrated Desdemona, slain in our
presence by her husband… entreated the pity of
the spectators by her very countenance.’
Henry Jackson (performance in Oxford, 1610)