C. Edward-gordon, set design for The Tempest, undefined scene, 10958. © BnF. Reproduced with the consent of the Edward Gordon Craig Estate, p.24, 1916.

S. Taylor and C. , Coleridge's Essays and Lectures on Shakespeare and Some Other Old Poets and Dramatists

. Dutton, 9 Undated annotation by Craig on his copy of A New Variorum Edition of Shakespeare Edited by Horace Howard Furness. The Tempest, where the quotation from Coleridge is reproduced, J. B. Lippincott, issue.7, pp.66-75, 1915.

S. K. Wild, Theater der Zeit, 2011), p. 92: ?Schlüssel zur vollendeten Schönheit ist [?] der Tod. [?] Die Orientierung an Tod und »Jenseits« ist für Craig unabdingbare Voraussetzung für eine Inszenierungs-und Spielweise, die sich durch Schönheit auszeichnet.? 13 Line numbers are given according to David Lindley?s edition in the New Cambridge Shakespeare series, p.24, 2002.

B. Ms, ?Why doesn?t he make him say ?all ears??why all eyes (1938).? Besides, Craig inscribed, probably in the 1950s, on his copy of The Tempest which is now part of the Eton College Library?s Craig Collection, in front of Shakespeare?s words ?No tongue! All eyes!?: ?Shakespeare?s order.? I express my gratitude to L.M. Newman and Michael Meredith for sending me a reproduction of this document, pp.88-59

B. Ms, 12r: ?Entirely accompanied by music and then I should enjoy to produce it and to see it performed?if not?not, 1923.

B. Ms, ?I am reminded of ?Shift up a little bit further [?]? That was the refrain of an old Music Hall song in the 1890s in London. [?] I will suggest that the composer of the music for this scene [1, 2] shall take this old tune [?] and giving it a double turn make new music of the old, pp.24-43

B. Ms, ?Ballet?but NOT of Sadlers Wells?NOT of Covent Garden?NOT of the Scala in Milano?NOT of Paris Berlin Barcelona New York and not of the School of I.D.; only I.D. at her very best could and did. Somewhere in Java?or in Scotland or in Dream?such a ballet could be met with.? 21 EGC Ms B 18 Antonio?malicious and thin and like a cat, 45r: ?Sebastian: heavy insolence of the 2 nd and idle brother?a dog, p.82, 1922.

B. Ms, Faustus who did not sell his soul to the Devil??who drowns his book, not burns his books?who with a devil at heel, an angel ahead, drives his purpose on to a perfect end.? 23 EGC Ms B 18, p. 13r: ?Leonardo da Vinci was at this time beginning to be a mythical figure?he was known as someone who lived in Italy and made magic?his books reveal much of this?he believed he could make men fly?Stories of his midnight experiments reached England?one of his manuscripts was seen by Shakespeare?Yes?I only guess at this?but I guess after reading Prospero, 12v: ?And had Shakespeare 104v. 26 And even four, including the copy of The Tempest that belongs to the Eton College Library?s Craig Collection, and on which Craig wrote, p.62

B. Ms, a photograph by Helen Craig of a wooden figure designed and cut by Craig in 1914 for a William Butler Yeats play, and later renamed ?Caliban.? This figure is now in the Eton College Library (as L.M. Newman and Michael Meredith notified me, for which I thank them). The circumstances for its renaming are unknown. It is crouching, Craig?s Black Figures, p.24, 1989.

B. Ms, ?And on the gauzes some mast or two and some rigging?water, strips, gauzes, floors.? 34 EGC Ms B 18, p. 51v and 58v. 35 Respectively: Paris, BnF, ASP, Maq 10979 and Maq 10980, and Osaka, Ohtani together and attempt to perform Hamlet could the right representation of Hamlet be given, for I fear to represent Hamlet rightly is an impossibility. Yet since this was written (?) I have myself attempted to produce Hamlet (?) Knowing it was impossible, why did I attempt it? There are many reasons: I wanted to strengthen my belief?I wanted people to realize the truth, 64 Edward Trostle Jones, Following Directions: a Study of Peter Brook, pp.107-83, 1985.

M. St and C. Byrne, ?The Shakespearean Season at the Old Vic, 1956-57 and Stratford-upon-Avon, Shakespeare Quarterly, vol.8, issue.4, pp.461-492, 1957.

C. M. Mazer and S. Refashioned, 72: ?a lantern swung back and forth on an otherwise dark and bare stage, while the actors tumbled about.? But Mazer does not state explicitly that this was in the 1900 revival of Benson?s production Benson?s production was revived again, and the lantern could have been introduced at any of these later dates. It is Stephen Orgel, in his introduction to The Tempest (p. 73), who asserts that the swinging lantern was used by Benson, Elizabethan Plays on Edwardian Stages which omitted 1.1 altogether). I do not know on which sources he draws (the only source he mentions is Mazer), and I would tend to regard this assertion as dubious, 1900.

C. Edward-gordon, Benson had a season at the Lyceum Theatre. It seemed to me rather ridiculous. I saw him as Caliban in The Tempest. [?] Benson?s idea of Caliban was to come on the stage with a fish between his teeth, pp.221-403, 1957.

J. Croall and . Gielgud?, 519: ?He was amazed when Greenaway suggested he speak all the parts, 201 ff. 79 This is also the conclusion of the recent book by Katharina Wild, 2002.