The essays in this collection use a variety of methods and approaches to explore the global history of audience experience of Shakespearean performance in theater, film, radio, and digital media.
The essays in this collection use a variety of methods and approaches to explore the global history of audience experience of Shakespearean performance in theater, film, radio, and digital media.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Matteo Pangallo is an Assistant Professor of English at Virginia Commonwealth University. Peter Kirwan is Associate Professor of Early Modern Drama at the University of Nottingham.
Inhaltsangabe
Matteo Pangallo and Peter Kirwan, "Introduction." Embodied Audiences 1. Stephanie Shirilan, "Respiratory Sympathy and Pneumatic Community in Shakespeare." 2. Joe Falocco, "Recovering the Humoral Body through Original Practice Performance." 3. Jennifer A. Low, "Haptic Experience and Fluid Boundaries: Macbeth and Czech Nationalism at ¿eský Krumlov's Revolving Theater." Constructing Audiences 4. Romola Nuttall, "The most lamentable Romaine Tragedie of Titus Andronicus and Audiences from the Inns of Court." 5. Miles Drawdy, "'Cleave the General Ear': Shakespeare and the Cultural Bias of Early American Radio." 6. Koel Chatterjee, "Indian Shakespeare Cinema and the Active Audience." 7. Pascale Aebischer, "Gender, Aura, and the Close-Up: Broadcasting Shakespeare for Female Audiences." Performing Audiences 8. Edel Lamb, "Shakespeare's Riotous Audiences: Macbeth at Astor Place, 1849." 9. Adam Sheaffer, "'How novelty may move': Play and the Boundaries of the Play in the New York Shakespeare Festival's Mobile Theatre." 10. Louise Geddes, "Imagined Theater: Why Fan Audiences Matter." Observing Audiences 11. Valerie M. Fazel, "'A vulgar comment will be made of it': YouTube and Robert Weimann's Platea." 12. Rachael Nicholas, "Shakespeare's Digital School Audience: Agency and Control in the Reception of an RSC Schools' Broadcast." 13. Emily Lathrop, "For Everybody: Casting, Race, and Audience Engagement in The Public Theater's Mobile Unit."
Matteo Pangallo and Peter Kirwan, "Introduction." Embodied Audiences 1. Stephanie Shirilan, "Respiratory Sympathy and Pneumatic Community in Shakespeare." 2. Joe Falocco, "Recovering the Humoral Body through Original Practice Performance." 3. Jennifer A. Low, "Haptic Experience and Fluid Boundaries: Macbeth and Czech Nationalism at ¿eský Krumlov's Revolving Theater." Constructing Audiences 4. Romola Nuttall, "The most lamentable Romaine Tragedie of Titus Andronicus and Audiences from the Inns of Court." 5. Miles Drawdy, "'Cleave the General Ear': Shakespeare and the Cultural Bias of Early American Radio." 6. Koel Chatterjee, "Indian Shakespeare Cinema and the Active Audience." 7. Pascale Aebischer, "Gender, Aura, and the Close-Up: Broadcasting Shakespeare for Female Audiences." Performing Audiences 8. Edel Lamb, "Shakespeare's Riotous Audiences: Macbeth at Astor Place, 1849." 9. Adam Sheaffer, "'How novelty may move': Play and the Boundaries of the Play in the New York Shakespeare Festival's Mobile Theatre." 10. Louise Geddes, "Imagined Theater: Why Fan Audiences Matter." Observing Audiences 11. Valerie M. Fazel, "'A vulgar comment will be made of it': YouTube and Robert Weimann's Platea." 12. Rachael Nicholas, "Shakespeare's Digital School Audience: Agency and Control in the Reception of an RSC Schools' Broadcast." 13. Emily Lathrop, "For Everybody: Casting, Race, and Audience Engagement in The Public Theater's Mobile Unit."
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