A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies. Essays by major scholars, teachers, and professional theatre makers consider the many sites at which Shakespearean drama is performed: in print, in the classroom, in the theatre, in film, on television and video, in multimedia and digital forms, and as part of a globalized and intercultural performance economy. This companion stands at the cutting edge of the field: several essays introduce current terms and contemporary areas of enquiry in…mehr
A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies. Essays by major scholars, teachers, and professional theatre makers consider the many sites at which Shakespearean drama is performed: in print, in the classroom, in the theatre, in film, on television and video, in multimedia and digital forms, and as part of a globalized and intercultural performance economy.
This companion stands at the cutting edge of the field: several essays introduce current terms and contemporary areas of enquiry in Shakespeare and performance; while others raise questions about the dynamic interplay between Shakespearean writing and the practices of contemporary performance and performance studies. Taken as a whole, the volume productively redraws the boundaries of Shakespeare performance studies.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Barbara Hodgdon is Professor of English at the University of Michigan and Ellis and Nelle Levitt Distinguished Professor Emerita at Drake University. Her previous publications include The End Crowns All: Closure and Contradiction in Shakespeare's History (1991), The First Part of King Henry the Fourth: Texts and Contexts (1997), and The Shakespeare Trade: Performances and Appropriations (1998). She was guest editor for a special issue of Shakespeare Quarterly (2002) on Shakespeare films and is currently editing The Taming of the Shrew for the Arden 3 series. W. B. Worthen is Professor and Chair of the Department of Theatre at Barnard College. He is the author of The Idea of the Actor (1984), Modern Drama and the Rhetoric of Theater (1992), Shakespeare and the Authority of Performance (1997), Shakespeare and the Force of Modern Performance (2003), and Print and the Poetics of Modern Drama (2006). He is also the editor of several volumes, including the Wadsworth Anthology of Drama.
Inhaltsangabe
List of Illustrations ix Notes on Contributors xi Acknowledgments xvi Introduction: A Kind of History 1 Barbara Hodgdon Part I Overviews: Terms of Performance 11 1 Reconstructing Love: King Lear and Theatre Architecture 13 Peggy Phelan 2 Shakespeare's Two Bodies 36 Peter Holland 3 Ragging Twelfth Night: 1602, 1996, 2002-3 57 Bruce R. Smith 4 On Location 79 Robert Shaughnessy 5 Where is Hamlet? Text, Performance, and Adaptation 101 Margaret Jane Kidnie 6 Shakespeare and the Possibilities of Postcolonial Performance 121 Ania Loomba Part II Materialities: Writing and Performance 139 7 The Imaginary Text, or the Curse of the Folio 141 Anthony B. Dawson 8 Shakespearean Screen/Play 162 Laurie E. Osborne 9 What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet 179 Simon Palfrey and Tiffany Stern 10 Editors in Love? Performing Desire in Romeo and Juliet 197 Wendy Wall 11 Prefixing the Author: Print, Plays, and Performance 212 W. B. Worthen Part III Histories 231 12 Shakespeare the Victorian 233 Richard W. Schoch 13 Shakespeare Goes Slumming: Harlem '37 and Birmingham '97 249 Kathleen McLuskie 14 Stanislavski, Othello, and the Motives of Eloquence 267 John Gillies 15 Shakespeare, Henry VI and the Festival of Britain 285 Stuart Hampton-Reeves 16 Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival 297 Ric Knowles 17 Performance as Deflection 319 Miriam Gilbert 18 Maverick Shakespeare 335 Carol Chillington Rutter 19 Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing 359 Paul Prescott 20 Performing History: Henry IV, Money, and the Fashion of the Times 376 Diana E. Henderson Part IV Performance Technologies, Cultural Technologies 397 21 ''Are We Being Theatrical Yet?'': Actors, Editors, and the Possibilities of Dialogue 399 Michael Cordner 22 Shakespeare on the Record 415 Douglas Lanier 23 SShockspeare: (Nazi) Shakespeare Goes Heil-lywood 437 Richard Burt 24 Game Space/Tragic Space: Julie Taymor's Titus 457 Peter S. Donaldson 25 Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture 478 Elizabeth A. Deitchman 26 Shakespeare on Vacation 494 Susan Bennett Part V Identities of Performance 509 27 Visions of Color: Spectacle, Spectators, and the Performance of Race 511 Margo Hendricks 28 Shakespeare and the Fiction of the Intercultural 527 Yong Li Lan 29 Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe 550 G. B. Shand 30 Queering the Audience: All-Male Casts in Recent Productions of Shakespeare 564 James C. Bulman 31 A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland 588 Courtney Lehmann 32 Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions 610 Joanne Tompkins Part VI Performing Pedagogies 625 33 Teaching Through Performance 627 James N. Loehlin 34 ''The eye of man hath not heard, / The ear of man hath not seen'': Teaching Tools for Speaking Shakespeare 644 Peter Lichtenfels Index 659
List of Illustrations ix Notes on Contributors xi Acknowledgments xvi Introduction: A Kind of History 1 Barbara Hodgdon Part I Overviews: Terms of Performance 11 1 Reconstructing Love: King Lear and Theatre Architecture 13 Peggy Phelan 2 Shakespeare's Two Bodies 36 Peter Holland 3 Ragging Twelfth Night: 1602, 1996, 2002-3 57 Bruce R. Smith 4 On Location 79 Robert Shaughnessy 5 Where is Hamlet? Text, Performance, and Adaptation 101 Margaret Jane Kidnie 6 Shakespeare and the Possibilities of Postcolonial Performance 121 Ania Loomba Part II Materialities: Writing and Performance 139 7 The Imaginary Text, or the Curse of the Folio 141 Anthony B. Dawson 8 Shakespearean Screen/Play 162 Laurie E. Osborne 9 What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet 179 Simon Palfrey and Tiffany Stern 10 Editors in Love? Performing Desire in Romeo and Juliet 197 Wendy Wall 11 Prefixing the Author: Print, Plays, and Performance 212 W. B. Worthen Part III Histories 231 12 Shakespeare the Victorian 233 Richard W. Schoch 13 Shakespeare Goes Slumming: Harlem '37 and Birmingham '97 249 Kathleen McLuskie 14 Stanislavski, Othello, and the Motives of Eloquence 267 John Gillies 15 Shakespeare, Henry VI and the Festival of Britain 285 Stuart Hampton-Reeves 16 Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival 297 Ric Knowles 17 Performance as Deflection 319 Miriam Gilbert 18 Maverick Shakespeare 335 Carol Chillington Rutter 19 Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing 359 Paul Prescott 20 Performing History: Henry IV, Money, and the Fashion of the Times 376 Diana E. Henderson Part IV Performance Technologies, Cultural Technologies 397 21 ''Are We Being Theatrical Yet?'': Actors, Editors, and the Possibilities of Dialogue 399 Michael Cordner 22 Shakespeare on the Record 415 Douglas Lanier 23 SShockspeare: (Nazi) Shakespeare Goes Heil-lywood 437 Richard Burt 24 Game Space/Tragic Space: Julie Taymor's Titus 457 Peter S. Donaldson 25 Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture 478 Elizabeth A. Deitchman 26 Shakespeare on Vacation 494 Susan Bennett Part V Identities of Performance 509 27 Visions of Color: Spectacle, Spectators, and the Performance of Race 511 Margo Hendricks 28 Shakespeare and the Fiction of the Intercultural 527 Yong Li Lan 29 Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe 550 G. B. Shand 30 Queering the Audience: All-Male Casts in Recent Productions of Shakespeare 564 James C. Bulman 31 A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland 588 Courtney Lehmann 32 Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions 610 Joanne Tompkins Part VI Performing Pedagogies 625 33 Teaching Through Performance 627 James N. Loehlin 34 ''The eye of man hath not heard, / The ear of man hath not seen'': Teaching Tools for Speaking Shakespeare 644 Peter Lichtenfels Index 659
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