The script of Give Us Good, by Pam Mandigo, edited
during rehearsal by toddler dramaturg Silas Anansi Huber
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A parallel text comparison of the A-Text and B-Text of
Dr. Faustus, prepared by Toby Malone for
Blast Faustus, part of Poorboy Theatre Scotland’s Blast
Classics series, 2012.
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Katherine Mayberry and Scott Lange as Cleopatra and Antony.
Photo by Chaz Albright, costume design by Roz Srb.
Pigeon Creek Shakespeare Company, 2019.
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Katherine Mayberry and Scott Lange as Cleopatra and Antony.
Photo by Chaz Albright, costume design by Roz Srb.
Pigeon Creek Shakespeare Company, 2019.
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Jessica Blondin (Catesby), Kandi Prosser (Lady Anne Neville),
Leah Magdalen (Queen Elizabeth Woodville), in
#R3 (Richard III), University of Waterloo, 2013.
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A page of Aristophanes' The Frogs.
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prompt book from David Garrick's
A Midsummer Night's Dream
(Drury Lane, London, 23 November 1734), PROMPT M.N.D 06. Folger
Shakespeare Library Call #: 54843. Used by permission of
the Folger Shakespeare Library
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18th Century engraved print of Susanna Centlivre
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The “Chandos portrait” of William Shakespeare, possibly by John
Taylor.
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Rhetorical analysis of Romeo and Juliet by Cass Morris.
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Aili Huber’s cut of Antony and Cleopatra using digital
tools available at
Henslowe's Cloud
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Toby Malone’s cut of Richard III using manual tools.
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James Shapiro’s cut of Coriolanus
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A page from Thomas More, possibly in Shakespeare’s
hand.
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"Ira Aldridge in the Role of Shakespeare's Othello" by William
Mulready
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"Ira Aldridge in the Role of Shakespeare's Othello" by William
Mulready
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Word cloud of Miss Julie.
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Compilation script of Queen Margaret, edited by Megan
McDonough. Different fonts show scene interleaving.
Table of Contents
Introduction
The mere concept of cutting content, lines, and characters from
well-known or classical plays might seem hubristic or sacrilegious
to the outside observer, but not only is such cutting common, it is
often necessary. This introductory chapter speaks to the simple
question of why texts might need to be cut at all.
Chapter 1: The Text is a Lie: Textual History and Why It Matters
Theater artists through time and around the world have adapted,
changed, and cut texts. Do you feel guilty axing a famous moment
from a play you didn't write? Don't! You're in line with millenia of
tradition.
Chapter 2: Start Here: The Three Questions
Before you start cutting, you should make sure you have deep answers
to three crucial questions:
Who is my audience?
What is my story?
How much time do I have?
Chapter 3: The Cutter’s Toolkit Part One: Materials
What items do you need to hand? How do you pick a text to start
from?
Chapter 4: The Cutter’s Toolkit Part Two: Strategies and
Considerations
Quick tips for getting started, as well as a deeper dive on common
mistakes.
Chapter 5: Cut to the Quick: Character-Specific Cuts
Cutting can help you feature or minimize a character. It can
facilitate actor doubling or enrich the ensemble.
Chapter 6: Don’t Cut That!: The Mechanics of Cuts
Before you cut something you'll regret later, make sure you
understand how each line contributes to the whole.
Chapter 7: Cut to the Moment: Production-Specific Cuts
By comparing different cuts, we can see how the choices cutters make
contribute to a production's specific goals and context.
Chapter 8: Scissors, Paste, and Negotiations: Communicating Cuts
How can you break it to Hamlet that he doesn't get to say "To be or
not to be"? Does your audience feel cheated when they learn you
haven't given them the whole play (not that such a thing exists)?
Appendix 1: Legal Concerns
You can't cut just any play. We're here to help you stay out of
trouble.
Appendix 2: Cut Activities
Practical exercises in cutting
Appendix 3: Further Reading
A collection of other resources to guide your cutting process.