{"id":71,"date":"2019-10-07T16:43:13","date_gmt":"2019-10-07T15:43:13","guid":{"rendered":"https:\/\/blogs.kcl.ac.uk\/performance\/?page_id=71"},"modified":"2020-07-22T10:37:32","modified_gmt":"2020-07-22T09:37:32","slug":"dr-sonia-massai","status":"publish","type":"page","link":"https:\/\/blogs.kcl.ac.uk\/performance\/dr-sonia-massai\/","title":{"rendered":"Dr Sonia Massai"},"content":{"rendered":"\n

Dr Sonia Massai<\/strong> is Professor of Shakespeare Studies at King’s College London. She has published widely on the history of the transmission of Shakespeare on the stage and on the page. Her publications include her books on Shakespeare\u2019s Accents: Voicing Identity in Performance <\/em>(Cambridge University Press: forthcoming iin 2020) and Shakespeare and the Rise of the Editor<\/em> (Cambridge University Press, 2007), collections of essays on Ivo van Hove: from Shakespeare to David Bowie <\/em>(Bloomsbury, 2018), Shakespeare and Textual Studies<\/em> (Cambridge University Press, 2015) and World-Wide Shakespeares: Local Appropriations in Film and Performance<\/em> (Routledge, 2005), and critical editions of The Paratexts in English Printed Drama to 1642<\/em> (Cambridge University Press, 2014) and John Ford’s \u2019Tis Pity She’s a Whore<\/em> for Arden Early Modern Drama (2011).<\/p>\n\n\n\n

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Theatre and Performance Publications<\/h4>\n\n\n\n

Books<\/p>\n\n\n\n

A new Arden 4 edition of Shakespeare\u2019s Richard III<\/em>, contracted for publication by Bloomsbury in 2024<\/p>\n\n\n\n

Shakespeare\u2019s Accents: Voicing Identity in Performance<\/em>, contracted for publication by Cambridge University Press in 2020<\/p>\n\n\n\n

Ivo van Hove: From Shakespeare to Bowie<\/em>, co-edited with Susan Bennett (London: Bloomsbury, 2018), pp. xxiv, 237; ISBN 9781350031548 <\/p>\n\n\n\n

The Paratext in English Printed Drama to the Restoration<\/em>, co-edited with Thomas L. Berger (Cambridge: Cambridge University Press, 2014), ISBN 9781107037977<\/p>\n\n\n\n

John Ford, \u2019Tis Pity She\u2019s a Whore, The Arden Early Modern Drama series (London: A & C Black, 2011), pp. xvii, 267, ISBN 9781904271505<\/em><\/p>\n\n\n\n

A Routledge Literary Sourcebook on William Shakespeare\u2019s \u201cTwelfth Night\u201d<\/em> (London and New York: Routledge, 2007), pp. xiv, 198, ISBN0415303323 <\/p>\n\n\n\n

World-Wide Shakespeares: Local Appropriations in Film and Performance<\/em>, edited with introduction by Sonia Massai (London: Routledge, 2005), pp. xii, 199, ISBN 0415324556<\/p>\n\n\n\n

Thomas Heywood, The Wise Woman of Hoxton<\/em>, Globe Quartos Series (London: Nick Hern, 2002), pp. xiv, 147, ISBN 1854597078<\/p>\n\n\n\n

Titus Andronicus<\/em>, The New Penguin Shakespeare, edited by Sonia Massai, with Introduction and Commentary by J.Berthoud (London: Penguin, 2001), pp 246. ISBN 0140707441<\/p>\n\n\n\n

Chapters<\/p>\n\n\n\n

\u2018Introduction\u2019 and \u2018Directing the Classics\u2019, in Ivo van Hove: From Shakespeare to Bowie<\/em>, ed. by Susan Bennett and Sonia Massai (London: Bloomsbury Methuen, 2018), 1-16 and 19-82; ISBN 9781350031548 <\/p>\n\n\n\n

\u2018Shakespeare With and Without Its Language\u2019, in James C. Bulman (ed.), The Oxford Handbook to Shakespeare and Performance<\/em> (Oxford: Oxford University Press, 2017), 475-494, ISBN 9780199687169<\/p>\n\n\n\n

\u2018Shakespeare, Tradition, and the Avant-garde in Chiara Guidi\u2019s Macbeth su Macbeth su Macbeth<\/em>\u2019, with Chiara Guidi (Societas Raffaello Sanzio), in Enza de Francisci and Chris Stamatakis (eds), Shakespeare, Italy and Transnational Exchange <\/em>(London: Routledge, 2017), 277-99, ISBN 9781317210832<\/p>\n\n\n\n

\u2018The Wide World\u2019, in Shakespeare in Ten Acts<\/em>, edited by Zoe Wilcox and Gordon McMullan (London: British Library, 2016), 63-80, ISBN 9780712356312<\/p>\n\n\n\n

\u2018Ms-Directing Shakespeare at the Globe to Globe Festival\u2019 in Gordon McMullan, Lena Cowen Orlin and V. Mason Vaughan (eds), Women Making Shakespeare: Text, Reception and Performance<\/em>,  <\/em>(London: Bloomsbury, 2014), 313-322, ISBN 9781408185339<\/p>\n\n\n\n

\u2018Giulio Cesare<\/em>\u2019, in Susan Bennett and Christie Carson (eds), Shakespeare Beyond English: A Global Experiment<\/em> (Cambridge: Cambridge University Press, forthcoming in 2013), 92-100, ISBN 9781107674691<\/p>\n\n\n\n

\u2018The Tempest<\/em>\u2019, \u2018Richard III<\/em>\u2019, \u2018The Dark Side of Love<\/em>\u2019, \u2018King Lear<\/em>\u2019, in A Year of Shakespeare: Re-Living the World Shakespeare Festival<\/em>, ed. by Paul Edmondson, Paul Prescott and Erin Sullivan (London: Bloomsbury, 2013), pp. 105-111, 178-180, 194-197, 246-249, ISBN 9781408188149<\/p>\n\n\n\n

Julia Pascal, The Shylock Play<\/em>, introduction by Sonia Massai (London: Oberon Books, 2008), ISBN 9781840028126<\/p>\n\n\n\n

\u2018Subjection and Redemption in Pier Paolo Pasolini\u2019s Che Cosa Sono Le Nuvole?<\/em> (1967)\u2019, in Sonia Massai (ed.), World-Wide Shakespeares: Local Appropriations in Film and Performance<\/em> (London: Routledge, 2005), pp. 95-103, ISBN 0415324556<\/p>\n\n\n\n

Articles<\/p>\n\n\n\n

\u2018Editing Shakespeare in Parts\u2019, in Shakespeare Quarterly<\/em> 68 (2018), 56-79<\/p>\n\n\n\n

\u2018Tate\u2019s Revision of Shakespeare\u2019s King Lears<\/em>\u2019, in Studies in English Literature 1500-1900<\/em>, 40 (2000), pp. 435-50, ISSN 0039-3657<\/p>\n\n\n\n

\u2018Stage over Study: Charles Marowitz, Edward Bond and Recent Materialist Approaches to Shakespeare\u2019, in New Theatre Quarterly<\/em> 59 (1999), pp. 247-55, ISSN 0266-464X 02<\/p>\n\n\n\n

\u2018From Pericles<\/em> to Marina<\/em>: \u201cWhile Women are to be had for money, love, or importunity\u2019, in Shakespeare Survey<\/em> 51 (1997), pp. 67-77, ISSN 0080-9152<\/p>\n\n\n\n

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An upcoming symposium at La Sapienza in Rome on Early Modern (collaborative) drammaturgy (dates and venue TBC).<\/p>\n\n\n\n

Ongoing and long-established collaboration with Two Gents, London-based company specializing in two-man adaptations of Shakespeare in the style of South African township theatre: http:\/\/www.twogentsproductions.co.uk<\/a> <\/p>\n\n\n\n

Planned performance-focused, public event related to \u2018Wartime Shakespeare\u2019, a Leverhulme-funded three year research project: https:\/\/blogs.kcl.ac.uk\/english\/2018\/11\/28\/shakespeare-at-war\/ <\/a><\/p>\n\n\n\n

Platform with Simon Russell Beale, King\u2019s College London, 2016: https:\/\/shakespeare400.kcl.ac.uk\/student-reviews\/simon-russell-beale-conversation\/<\/a><\/p>\n\n\n\n

Platform with Chiara Guidi (Societas Raffaello Sanzio), King\u2019s College London, 2014: https:\/\/www.kcl.ac.uk\/artshums\/ahri\/eventrecords\/2014-2015\/Festival\/chiaraguidi<\/a> <\/p>\n\n\n\n

Platform with Ivo van Hove (Toneelgroep Amsterdam), King\u2019s College London, 2010<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Dr Sonia Massai is Professor of Shakespeare Studies at King’s College London. She has published widely on the history of the transmission of Shakespeare on the stage and on the page. Her publications include her books on Shakespeare\u2019s Accents: Voicing Identity in Performance (Cambridge University Press: forthcoming iin 2020) and Shakespeare and the Rise of the … <\/p>\n

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