This study explores the relationship between performances of Shakespeare's plays and the ways in which they engage with traumatic events and histories. It investigates the ethical and political implications of attempts to represent trauma in performance, and interrogates a range of narratives about Shakespeare, gender, sexuality, ethnicity, colonization and violence.
This study explores the relationship between performances of Shakespeare's plays and the ways in which they engage with traumatic events and histories. It investigates the ethical and political implications of attempts to represent trauma in performance, and interrogates a range of narratives about Shakespeare, gender, sexuality, ethnicity, colonization and violence.
Catherine Silverstone is Senior Lecturer in Drama, Theatre and Performance Studies at Queen Mary, University of London, UK.
Inhaltsangabe
Introduction 1: "Honour the real thing": Gregory Doran's Titus Andronicus in South Africa 2: The Legacy of Colonisation: Don C. Selwyn's The Maori Merchant of Venice and Aotearoa New Zealand 3: Sexuality, Trauma and Community: The Tempest, Philip Osment's This Island's Mine and Gay Sweatshop 4: Theatres of War: Nicholas Hytner's Henry V
Introduction 1: "Honour the real thing": Gregory Doran's Titus Andronicus in South Africa 2: The Legacy of Colonisation: Don C. Selwyn's The Maori Merchant of Venice and Aotearoa New Zealand 3: Sexuality, Trauma and Community: The Tempest, Philip Osment's This Island's Mine and Gay Sweatshop 4: Theatres of War: Nicholas Hytner's Henry V
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