Unearthing Shakespeare- Front Cover -- Unearthing Shakespeare -- Title Page -- Copyright Page -- Dedication -- Contents -- List of illustrations -- Figures -- Tables -- Preface -- The archaeology of performance: "unearthing Shakespeare"--Becoming empowered -- Am I enough? -- Embodied performance -- How this book works -- Acknowledgments -- PART I: Excavating the foundation -- Chapter 1: Shakespeare's theatrical culture -- Chapter 2: Examining the Globe -- Ornamentation, meta-theatricality, and the microcosm within the macrocosm -- Staging clues, staging discoveries, staging status -- The actor/audience relationship: casting the audience -- The mask of the divided self -- Shakespeare's social space -- Chapter 3: Understanding the text -- Iambic pentameter -- Metric deviations -- Basketball Shakespeare, or "Shakesball"--Discovering the language -- Punctuation -- Lists and ladders -- Telescoping -- Antithesis -- Metaphors and similes -- Titles and names -- Personification: casting Shakespeare's world -- Chapter 4: Creating character -- Character -- ". . . and now is he turned orthography" (Much Ado About Nothing 2.3.20) -- Discovering "character" through character -- PART II: Actuating practice -- Chapter 5: Activating the body -- Connecting Breath -- Radiating Box -- Radiating Box: Distance and Vertical Space -- Status work -- Chapter 6: Awakening the listener -- Chapter 7: Energizing the language -- Open Mic Poetry -- Moving Target: Whole Text -- Moving Target: Random Text -- Find It Here -- Chapter 8: Expanding the fiction -- Elliptical energy -- Elliptical Energy Training -- Elliptical energy in performance -- Chapter 9: Developing and playing the Shakespeare score -- The structure of the verse -- The development of thoughts -- The dynamics of orthography -- The process of balance -- The Shakespeare Score -- Chapter 10: Rehearsing the part