Featuring new chapters from thirty leading scholars, The Oxford Handbook of Shakespeare and Dance examines the relationship between William Shakespeare - his life, works, afterlife - and dance.
Featuring new chapters from thirty leading scholars, The Oxford Handbook of Shakespeare and Dance examines the relationship between William Shakespeare - his life, works, afterlife - and dance.
Lynsey McCulloch is Senior Lecturer in English Literature at Coventry University and an Associate Member of its Centre for Dance Research (C-DaRE). She researches the relationship between literature and dance. A dance scholar-practitioner, Brandon Shaw's research interests include literature and dance, early modern European body culture, phenomenology, dance historiography, US Race Studies, and representations of the invisible in dance. He was the inaugural Mellon Postdoctoral Fellow in Dance Studies at Brown University and the recipient of the 2016 Gertrude Lippincott Award for outstanding publication in the field of Dance Studies.
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* Foreword * Acknowledgements * List of Contributors * Introduction * SECTION I: SHAKESPEARE AND DANCE * Section Introduction * 1: Emily Winerock: "The heaven's true figure" or an "introit to all kin d of lewdness"? Competing Conceptions of Dancing in Shakespeare's England * 2: Nona Monahin: Decoding Dance in Shakespeare's Much Ado About Nothing and Twelfth Night * 3: Roger Clegg: "When the play is done, you shall have a Jig or dance of all treads": Danced Endings on Shakespeare's Stage * 4: Anne Daye: "The revellers are entering": Shakespeare and Masquing Practice in Tudor and Stuart England * 5: John R. Ziegler: We Are All Made: The Socioeconomics of The Two Noble Kinsmen's Anti-Masque Morris Dance * 6: Lizzie Leopold: The Merchant of Venice's Missing Masque: Absence, Touch, and Religious Residues * 7: Brandon Shaw: Shakespeare's Dancing Bodies: The Case of Romeo * 8: Steven Swarbrick: Dancing with Perdita: The Choreography of Lost Time in The Winter's Tale * 9: Florence Hazrat: "The wisdom of your feet": Dance and Rhetoric on the Shakespearean Stage * 10: Seth Stewart Williams: [They Dance]: Collaborative Authorship and Dance in Macbeth * 11: Evelyn O'Malley: Dancing with the Archive: Early Dance for Shakespearean Adaptation * SECTION II: SHAKESPEARE AS DANCE * Section Introduction * 12: Susan Jones: Shakespeare, Modernism, and Dance * 13: Ray Miller: Dance in the Broadway Musicals of Shakespeare: Balanchine, Holms, and Robbins * 14: Amy Rodgers: "Thou art translated: Affinity, Emulation, and Translation in George Balanchine's A Midsummer Night's Dream * 15: Lynsey McCulloch: "hildings and harlots": Kenneth MacMillan's Romeo and Juliet * 16: Shakespeare Ballets in Germany: From Jean-Georges Noverre to John NeumeierIris Julia Bürle * 17: Elinor Parsons: "Therefore ha' done with words": Shakespeare and Innovative British Ballets * 18: Elizabeth Klett: Measure in Everything: Adapting Hamlet to the Contemporary Dance Stage * 19: Jo Butterworth: Hamlet, the Ballet: Examining a Choreographic Process * 20: Freya Vass- Rhee: Haunted by Hamlet: William Forsythe's Sider * 21: Kathrina Farrugia-Kriel: Dancing her Death: Dada Masilo's The Bitter End of Rosemary (2011) as a South African Contemporary Rethinking of Hamlet's Ophelia * 22: Ann E. Mazzocca and Denise Gillman: Embodiment, Reciprocity, and Reception: Shakespeare Adaptations in a Black Atlantic Context * 23: James Hewison: Shakespeare and L.O.V.E: Dance and Desire in the Sonnets * 24: Linda McJannet: Incorporating the Text: John Farmanesh-Bocca's Pericles Redux and Crystal Pite's The Tempest Replica * 25: Sheila T. Cavanagh: "A delightful measure or a dance": Synetic Theater and Physical Shakespeare * Appendix 1 * Appendix 2 * Index
* Foreword * Acknowledgements * List of Contributors * Introduction * SECTION I: SHAKESPEARE AND DANCE * Section Introduction * 1: Emily Winerock: "The heaven's true figure" or an "introit to all kin d of lewdness"? Competing Conceptions of Dancing in Shakespeare's England * 2: Nona Monahin: Decoding Dance in Shakespeare's Much Ado About Nothing and Twelfth Night * 3: Roger Clegg: "When the play is done, you shall have a Jig or dance of all treads": Danced Endings on Shakespeare's Stage * 4: Anne Daye: "The revellers are entering": Shakespeare and Masquing Practice in Tudor and Stuart England * 5: John R. Ziegler: We Are All Made: The Socioeconomics of The Two Noble Kinsmen's Anti-Masque Morris Dance * 6: Lizzie Leopold: The Merchant of Venice's Missing Masque: Absence, Touch, and Religious Residues * 7: Brandon Shaw: Shakespeare's Dancing Bodies: The Case of Romeo * 8: Steven Swarbrick: Dancing with Perdita: The Choreography of Lost Time in The Winter's Tale * 9: Florence Hazrat: "The wisdom of your feet": Dance and Rhetoric on the Shakespearean Stage * 10: Seth Stewart Williams: [They Dance]: Collaborative Authorship and Dance in Macbeth * 11: Evelyn O'Malley: Dancing with the Archive: Early Dance for Shakespearean Adaptation * SECTION II: SHAKESPEARE AS DANCE * Section Introduction * 12: Susan Jones: Shakespeare, Modernism, and Dance * 13: Ray Miller: Dance in the Broadway Musicals of Shakespeare: Balanchine, Holms, and Robbins * 14: Amy Rodgers: "Thou art translated: Affinity, Emulation, and Translation in George Balanchine's A Midsummer Night's Dream * 15: Lynsey McCulloch: "hildings and harlots": Kenneth MacMillan's Romeo and Juliet * 16: Shakespeare Ballets in Germany: From Jean-Georges Noverre to John NeumeierIris Julia Bürle * 17: Elinor Parsons: "Therefore ha' done with words": Shakespeare and Innovative British Ballets * 18: Elizabeth Klett: Measure in Everything: Adapting Hamlet to the Contemporary Dance Stage * 19: Jo Butterworth: Hamlet, the Ballet: Examining a Choreographic Process * 20: Freya Vass- Rhee: Haunted by Hamlet: William Forsythe's Sider * 21: Kathrina Farrugia-Kriel: Dancing her Death: Dada Masilo's The Bitter End of Rosemary (2011) as a South African Contemporary Rethinking of Hamlet's Ophelia * 22: Ann E. Mazzocca and Denise Gillman: Embodiment, Reciprocity, and Reception: Shakespeare Adaptations in a Black Atlantic Context * 23: James Hewison: Shakespeare and L.O.V.E: Dance and Desire in the Sonnets * 24: Linda McJannet: Incorporating the Text: John Farmanesh-Bocca's Pericles Redux and Crystal Pite's The Tempest Replica * 25: Sheila T. Cavanagh: "A delightful measure or a dance": Synetic Theater and Physical Shakespeare * Appendix 1 * Appendix 2 * Index
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