Shakespeare and Dance Studies

Atwood, Emma. “Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Ado About Nothing.” Borrowers and Lenders 10, no. 2 (2017).

Baskervill, Charles Read. The Elizabethan Jig and Related Song Drama. New York: Dover Publications, 1929, 1965.

Berger, Harry, Jr., “Against the Sink-a-Pace: Sexual and Family Politics in Much Ado About Nothing,” Shakespeare Quarterly 33, no. 3 (1982): 302-313.

Bennett, Karen. “Star-cross’d lovers: Shakespeare and Prokofiev’s ‘pas-de-deux’ in Romeo and Juliet.” Cambridge Quarterly 32, no. 4 (2003): 311-347.

Biswas, Madhavi. “‘Light Your Cigarette with My Heart’s Fire, My Love’: Raunchy Dances and a Golden-hearted Prostitute in Bhardwaj’s Omkara.”  Borrowers and Lenders 10, no. 2 (2017).

Brissenden, Alan. Shakespeare and the Dance. Atlantic Highlands, NJ: Humanities Press, 1981, 2001.

Cavanagh, Sheila T. “A “Merry War”: Synetic’s Much Ado About Nothing and American Post-war  Iconography.” Borrowers and Lenders 10, no. 2 (2017).

Clegg, Roger, and Lucie Skeaping. Singing Simpkin and Other Bawdy Jigs: Musical Comedy on the Shakespearean Stage, Scripts, Music, and Context. Exeter: Exeter University Press, 2013.

Cohen, Selma Jeanne, ed. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. 6 vols. New York: Oxford University Press, 1998.

  • “Great Britain: English Traditional Dance” by Theresa Jill Buckland, vol. 3, pp. 238-243.
  • “Great Britain: Theatrical Dance, 1460-1660” by Alan Brisssenden, vol. 3, pp. 251-253.
  • “Jig” by James E. Morrison, vol. 3, pp. 607-608.
  • “Morris Dance” by John Forrest, vol. 4, pp. 473-475.
  • “Renaissance Dance Technique” by Ingrid Brainard, vol. 5, pp. 336-340.
  • Romeo and Juliet” by Rita Felciano, vol. 5, pp. 392-399.

Daye, Anne, comp. A Lively Shape of Dauncing: Dances of Shakespeare’s Time. Salisbury, Wiltshire: Dolmetsch Historical Dance Society, 1994.

Dessen, Alan, and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580-1642. Cambridge: Cambridge University Press, 1999.

Dickson, Lisa, and Andrea Downie. “Hermione Sessions: Dancing, The Winter’s Tale, and the Kinaesthetic Imagination.” Borrowers and Lenders 10, no. 2 (2017).

Fiorato, Sidia. “Mise en Scène and Subversion of Political Power through Dance: Sir Kenneth MacMillan’s Romeo and Juliet.” In Visualizing Law and Authority: Essays on Legal Aesthetics, edited by L. Dahlberg, pp. 74-91. Berlin, De Gruyter, 2012.

_____. “Rilettura del potere tramite la danza: Der Sturm – La Tempesta di Jörg Mannes”, in  Iconologia del Potere. Rappresentazioni della sovranità nel Rinascimento, edited by D. Carpi and Sidia Fiorato, pp. 172-194. Ombre Corte: Verona, 2011.

______. “La danza e l’immaginario shakespeariano: Oberon e Titania in The Dream di Sir Frederick Ashton.” In L’immagine e la parola,  edited by C. Battisti, pp. 37-50. Verona: Ombre Corte, 2010.

Fultz, Benjamin. “Romeo and Juliet: the ballets.” Dance Chronicle 16, no. 3 (1993): 401-404.

Gough, Melinda. “‘Her filthy feature open showne’ in Ariosto, Spenser, and Much Ado About Nothing.” Studies in English Literature, 1500-1900 39, no. 1 (Winter 1999): 41-67.

Hiscock, Andrew. “‘Come, now a roundel and a fairy song'” Shakespeare’s A Midsummer Night’s Dream and the early modern invitation to the dance.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 2 (2018): 1-30.

Hoskins, Jim. The Dances of Shakespeare. New York: Routledge, 2005. [Ed. note: The suggested dance types and choreographies are usually dramatically appropriate but not necessarily historically accurate.]

Howard, Camille Cole. The Staging of Shakespeare’s Romeo and Juliet as a Ballet. San Francisco: Mellen Research UP, 1992.

Howard, Skiles. “Hands, Feet and Bottoms: Decentering the Cosmic Dance in A Midsummer Night’s Dream.” Shakespeare Quarterly 44, no. 3 (1993): 325-342.

_____. The Politics of Courtly Dancing in Early Modern England. Amherst: Amherst University of Massachusetts Press, 1998.

Isenberg, Nancy. “Ballet.” In The Cambridge Guide to the Worlds of Shakespeare, vol. II. General editor, Bruce Smith, pp. 1819-1827. New York and Cambridge: Cambridge University Press, 2016.

_______. “Dramatic leaps and political falls: Russian Hamlet ballet in 1991.” In The Hamlet Zone: Reworking Hamlet in European Cultures, edited by Ruth Owen, pp. 17-30. Cambridge, Eng.: Cambridge Scholars Publishing, 2012.

_______. “Dancing with the Stars in Antony and Cleopatra.” In Shakespeare and Rome: Questioning bodies, geographies, cosmographies, edited by Nancy Isenberg, Maria Del Sapio and Maddalena Pennacchia, pp. 341-353. Göttingen: Vandenhoeck & Ruprecht Unipress, 2010.

­­­_______. “Latino Spider Bites: Shifting vocabularies of otherness for Bianca in a recent Othello ballet.” In Forms of Migration/ Migration of Forms, edited by V. Intonti, F. Troisi, M. Vitale, pp. 113-121. Bari, Progeit, 2009.

_______. “Beyond the Black and White Paradigm: The casting of Othello and Desdemona on the ballet stage.” In Postcolonial Shakespeare, edited by Masolino D’Amico and Simona Corso, pp. 157-169. Rome: Edizioni di Storia e Letteratura, 2009.

_______. “Feminist Movement and the Balance of Power in John Cranko’s ballet, The Taming of the Shrew (Stuttgart, 1969).” In Shakespeare and European Politics, edited by Dirk Delabastita, Jozef De Vos and Paul Franssen, pp. 169-178. Newark, DE: Delaware University Press, 2008.

________. “Accommodating Shakespeare to Ballet: John Cranko’s Romeo and Juliet” (Venice, 1958).” In Shifting the Scene: Shakespeare in European Culture, edited by Balz Engler and Ladina Bezzola, pp. 129-139. Newark, DE: University of Delaware Press, 2004.

Iyengar, Sujata. “Moorish dancing in The Two Noble Kinsmen.” Medieval and Renaissance Drama in England: An Annual Gathering of Research, Criticism and reviews (MRDE) 20 (2007): 85-107.

Kendall, G. Yvonne. “Translating Shakespearean Plays: Dance as Rhetorical Device.”  Tennessee Philological Bulletin Vol LIII (2016): 42-62.

Klett, Elizabeth. Choreographing Shakespeare: Dance Adaptations of the Plays and Poems. New York, Routledge, 2019. [pre-order from Routledge]

________. “The Concord of This Discord: Adapting the Late Romances for the Ballet Stage.” Borrowers and Lenders 10, no. 2 (2017).

________. “Dancing tragedy: José Limón’s adaptations of Shakespeare.” Shakespeare 11, no. 1 (2015): 58-81.

________. “Introduction: Dancing (With) Shakespeare.” Borrowers and Lenders 10, no. 2 (2017).

Lin, Erika T. Shakespeare and the Materiality of Performance (New York: Palgrave Macmillan, 2012). Chapter 4: “Dancing and Other Delights: Spectacle and Participation in Doctor Faustus and Macbeth.”

McCulloch, Lynsey. ‘“Here’s that shall make you dance”: movement and meaning in Bern: Ballett’s Julia und Romeo.” Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance, edited by Sarah Annes Brown, Robert I. Lublin, and Lynsey McCulloch, pp. 255-268. Basingstoke: Palgrave Macmillan, 2013.

________. “Shakespeare and Dance.” Literature Compass 13, no. 2 (2016): 69-78.

________, and Brandon Shaw, eds. The Oxford Handbook of Shakespeare and Dance. Oxford: Oxford UP, 2019.

McJannet, Linda. “A hall, a hall! Give room, and foot it, girls”: Realizing the Dance Scene in Romeo and Juliet on Film.” Borrowers and Lenders 10, no. 2 (2017).

________, and Emily F. Winerock. “Dancing on Her Grave: Shakespeare’s Tragic Heroines on Film.” Dance Chronicle 39, no. 2 (2016): 56-76.

Monahin, Nona. “Prokofiev’s Romeo and Juliet: Some Consequences of the ‘Happy Ending’.” Borrowers and Lenders 10, no. 2 (2017).

________, and Christian Rogowski. “Text, Music, Dance: Conflicting Allegiances in Angelin Preljocaj’s Roméo et Juliette.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 66-77. Dance Studies Association, 2018.

Prange, Gerda. “Shakespeares Äußerungen über die Tänze seiner Zeit.” Shakespeare Jahrbuch 89 (1953): 132-161.

Ravelhofer, Barbara. “Dancing at the Court of Queen Elizabeth.” In Queen Elizabeth I: Past and Present, edited by Christa Jansohn, pp. 101-115. Münster: Lit Verlag, 2004.

_____.  “Middleton and dance.” The Oxford Handbook of Thomas Middleton, edited by G. Taylor and T. Henley, pp. 130-147. Oxford: Oxford University Press, 2012.

_____. “Dance.” Ben Jonson in Context, edited by Julie Sanders, pp. 171-180. Cambridge: Cambridge University Press, 2010.

Rodgers, Amy. “Creation Myths: Inspiration, Collaboration, and the Genesis of Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017).

Shaw, Brandon. “Effacing Rebellion and Righting the Slanted: Declassifying the Archive of MacMillan’s (1965) and Shakespeare’s (1597) Romeo and Juliets.” Dance Research Journal 49, no. 2 (2017).

Sorell, Walter. “Shakespeare and the Dance.” Shakespeare Quarterly 8, no. 3 (1957): 367-384.

Steele, M. S. Plays & Masques at Court during the Reigns of Elizabeth, James and Charles. New York: Russell & Russell, 1926, 1968.

Thomson, Peter, and Roger Clegg. “He’s for a jig or a tale of bawdry—’: Notes on the English Dramatic Jig.” Studies in Theatre and Performance 29, no. 1 (2009): 67-83.

West, William. “When is the Jig Up—and What is it Up To?” In Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing. Edited by Helen Ostovich, Holger Schott Syme, Andrew Griffin. Farnham, Surrey: Ashgate, 2009.

Wharton, Robin. “‘There Are No Mothers-in-Law in Ballet’: ‘Doing’ Shakespeare in dance.” Shakespeare Bulletin 23 (2005): 7-22.

Winerock, Emily F. “Staging Dance in English Renaissance Drama.” In Proceedings of the 34th Society of Dance History Scholars Annual Conference (23-26 June 2011), compiled by Ken Pierce. Riverside, CA: Society of Dance History Scholars, 2011.

_____. “‘We’ll measure them a measure, and be gone’: Renaissance Dance Practices and Shakespeare’s Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017).

_____. “‘What dances shall we have?’ Assembling the Evidence of Non-Courtly Dancing in Shakespearean England.” In Dance Studies Association Conference Proceedings (19-22 October 2017), compiled by Jens Giersdorf and Kayla White, pp. 103-113. Dance Studies Association, 2017.