Examines both theatrical and staged art photographs, demonstrating their role in fixing and unfixing Shakespearean authority.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Sally Barnden is a Research Associate on the AHRC-funded project 'Shakespeare in the Royal Collections' at King's College London. Her research on Shakespeare performance and still photography inspired the 'Still Shakespeare' animation project, a collaboration with Film London Artists' Moving Image Network. Her work has been published in Shakespeare Bulletin and Theatre Journal.
Inhaltsangabe
Introduction: leave not a rack behind Part I. Photographing Performers: 1. Liveness, documentation, and the RSC's dreams, 1954-77 2. Photographing the past in the theatre of Charles Kean 3. Julia Margaret Cameron, sympathetic Shakespeare and photographic afterlives Part II. Iconography, Photography, and Hamlet: 4. 'Too much of water': Ophelia, photography, dissolution 5. Poor Yorick: the photograph as memento mori Epilogue Select bibliography Index.
Introduction: leave not a rack behind Part I. Photographing Performers: 1. Liveness, documentation, and the RSC's dreams, 1954-77 2. Photographing the past in the theatre of Charles Kean 3. Julia Margaret Cameron, sympathetic Shakespeare and photographic afterlives Part II. Iconography, Photography, and Hamlet: 4. 'Too much of water': Ophelia, photography, dissolution 5. Poor Yorick: the photograph as memento mori Epilogue Select bibliography Index.
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