The earliest texts of William Shakespeare's works were published during the 16th and 17th centuries in quarto or folio format. Folios are large, tall volumes; quartos are smaller, roughly half the size. The publications of the latter are usually abbreviated to Q1, Q2, etc., where the letter stands for "quarto" and the number for the first, second, or third edition published.
The Taming of the Shrew is a comedy by William Shakespeare, believed to have been written between 1590 and 1592. The play begins with a framing device, often referred to as the induction, in which a mischievous nobleman tricks a drunken tinker named Christopher Sly into believing he is actually a nobleman himself. The nobleman then has the play performed for Sly's diversion.
William Rowley was an English Jacobean dramatist, best known for works written in collaboration with more successful writers. His date of birth is estimated to have been c. 1585; he was buried on 11 February 1626 in the graveyard of St James's, Clerkenwell in north London.
This article presents a possible chronological listing of the composition of the plays of William Shakespeare.
Love's Labour's Won is a lost play attributed by contemporaries to William Shakespeare, written before 1598 and published by 1603, though no copies are known to have survived. Scholars dispute whether it is a true lost work, possibly a sequel to Love's Labour's Lost, or an alternative title to a known Shakespeare play.
The King's Men was the acting company to which William Shakespeare (1564–1616) belonged for most of his career. Formerly known as the Lord Chamberlain's Men during the reign of Queen Elizabeth I, they became the King's Men in 1603 when King James I ascended the throne and became the company's patron.
John Fletcher was an English playwright. Following William Shakespeare as house playwright for the King's Men, he was among the most prolific and influential dramatists of his day; during his lifetime and in the Stuart Restoration, his fame rivalled Shakespeare's. Fletcher collaborated in writing plays with Francis Beaumont and Shakespeare. Though his reputation has subsequently declined, he remains an important transitional figure between the Elizabethan popular tradition and the popular drama of the Restoration.
A bad quarto, in Shakespearean scholarship, is a quarto-sized printed edition of one of Shakespeare's plays that is considered to be unauthorised, and is theorised to have been pirated from a theatrical performance without permission by someone in the audience writing it down as it was spoken or, alternatively, written down later from memory by an actor or group of actors in the cast – the latter process has been termed "memorial reconstruction". Since the quarto derives from a performance, hence lacks a direct link to the author's original manuscript, the text would be expected to be "bad", i.e. to contain corruptions, abridgements and paraphrasings.
The Night Walker, or The Little Thief is an early seventeenth-century stage play, a comedy written by John Fletcher and later revised by his younger contemporary James Shirley. It was first published in 1640.
Cupid's Revenge is a Jacobean tragedy written by Francis Beaumont and John Fletcher. It was a popular success that influenced subsequent works by other authors.
The Beaumont and Fletcher folios are two large folio collections of the stage plays of John Fletcher and his collaborators. The first was issued in 1647, and the second in 1679. The two collections were important in preserving many works of English Renaissance drama.
The Lovers' Progress is an early seventeenth-century stage play, a tragicomedy written by John Fletcher and Philip Massinger. As its multiple titles indicate, the play has a complex history and has been a focus of controversy among scholars and critics.
The Elder Brother is an early seventeenth-century English stage play, a comedy written by John Fletcher and Philip Massinger. Apparently dating from 1625, it may have been the last play Fletcher worked on before his August 1625 death.
Wit Without Money is a Jacobean era stage play, a comedy written by John Fletcher, and first published in 1639.
Thierry and Theodoret is a Jacobean era stage play, a tragedy in the canon of John Fletcher and his collaborators that was first published in 1621. It is one of the problematic plays of Fletcher's oeuvre; as with Love's Cure, there are significant uncertainties about the date and authorship of Thierry and Theodoret.
The Scornful Lady is a Jacobean era stage play, a comedy written by Francis Beaumont and John Fletcher, and first published in 1616, the year of Beaumont's death. It was one of the pair's most popular, often revived, and frequently reprinted works.
Richard Hawkins was a London publisher of the Jacobean and Caroline eras. He was a member of the syndicate that published the Second Folio collection of Shakespeare's plays in 1632. His bookshop was in Chancery Lane, near Sergeant's Inn.
Thomas Walkley was a London publisher and bookseller in the early and middle seventeenth century. He is noted for publishing a range of significant texts in English Renaissance drama, "and much other interesting literature."
There have been numerous on screen adaptations of Shakespeare's The Taming of the Shrew. The best known cinematic adaptations are Sam Taylor's 1929 The Taming of the Shrew and Franco Zeffirelli's 1967 The Taming of the Shrew, both of which starred the most famous celebrity couples of their era; Mary Pickford and Douglas Fairbanks in 1929 and Elizabeth Taylor and Richard Burton in 1967. On television, perhaps the most significant adaptation is the 1980 BBC Television Shakespeare version, directed by Jonathan Miller and starring John Cleese and Sarah Badel.
The Taming of the Shrew in performance has had an uneven history. Popular in Shakespeare's day, the play fell out of favour during the seventeenth century, when it was replaced on the stage by John Lacy's Sauny the Scott. The original Shakespearean text was not performed at all during the eighteenth century, with David Garrick's adaptation Catharine and Petruchio dominating the stage. After over two hundred years without a performance, the play returned to the British stage in 1844, the last Shakespeare play restored to the repertory. However, it was only in the 1890s that the dominance of Catharine and Petruchio began to wain, and productions of The Shrew become more regular. Moving into the twentieth century, the play's popularity increased considerably, and it became one of Shakespeare's most frequently staged plays, with productions taking place all over the world. This trend has continued into the twenty-first century, with the play as popular now as it was when first written.
