A Companion to Shakespeare and Performance
by Editor: Barbara Hodgdon (Drake University ); Editor: W. B. Worthen (University of Michigan)Format: eBook
Pub. Date: 2008-04-01
Publisher(s): Wiley-Blackwell
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Summary
A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies. Redraws the boundaries of Shakespeare performance studies. Considers performance in a range of media, including in print, in the classroom, in the theatre, in film, on television and video, in multimedia and digital forms. Introduces important terms and contemporary areas of enquiry in Shakespeare and performance. Raises questions about the dynamic interplay between Shakespearean writing and the practices of contemporary performance and performance studies. Written by an international group of major scholars, teachers, and professional theatre makers.
Table of Contents
| List of Illustrations | |
| Notes on Contributors | |
| Acknowledgments | |
| Introduction: A Kind of History | |
| Overviews: Terms of Performance | |
| Reconstructing Love: King Lear and Theatre Architecture | |
| Shakespeare's Two Bodies | |
| Ragging Twelfth Night 1602, 1996, 2002-3 | |
| On Location | |
| Where is Hamlet? Text, Performance, and Adaptation | |
| Shakespeare and the Possibilities of Postcolonial Performance | |
| Materialities: Writing and Performance | |
| The Imaginary Text, or, The Curse of the Folio | |
| Shakespeare Screen/Play | |
| What does the Cued Part Cue? Parts and Cues in Romeo and Juliet | |
| Editors in Love? Performing Desire in Romeo and Juliet | |
| Prefixing the Author: Print, Plays, and Performance | |
| Histories | |
| Shakespeare the Victorian | |
| Shakespeare Goes Slumming: Harlem '37 and Birmingham '97 | |
| Stanislavski, Othello, and the Motives of Eloquence | |
| Shakespeare, Henry VI, and the Festival of Britain | |
| Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival | |
| Performance as Deflection | |
| Maverick Shakespeare | |
| Inheriting the Globe: The Reception of Shakespearian Space and Audience in Contemporary Reviewing | |
| Performing History: Henry IV, Money, and the Fashion of the Times | |
| Performance Technologies, Cultural Technologies | |
| "Are We Being Theatrical Yet?": Actors, Editors, and the Possibilities of Dialogue | |
| Shakespeare on the Record | |
| Sshockspeare: (Nazi) Shakespeare Goes Heil-lywood | |
| Game Space/Tragic Space: Julie Taymor's Titus | |
| Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture | |
| Shakespeare on Vacation | |
| Identities of Performance | |
| Visions of Color: Spectacle, Spectators, and the Performance of Race | |
| Shakespeare and the Fiction of the Intercultural | |
| Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe | |
| Queering the Audience: All-Male Casts in Recent Shakespeare Productions | |
| A Thousand Shakespeares: From Cinematic Saga to Feminist Geography; or, The Escape from Iceland | |
| Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions | |
| Performing Pedagogies | |
| Teaching through Performance | |
| "The eye of man hath not heard,/The ear of man hath not seen": Teaching Tools for Speaking Shakespeare | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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