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A Companion to Shakespeare and Performance / Edition 1

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Overview

A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies.

  • Redraws the boundaries of Shakespeare performance studies.
  • Considers performance in a range of media, including in print, in the classroom, in the theatre, in film, on television and video, in multimedia and digital forms.
  • Introduces important terms and contemporary areas of enquiry in Shakespeare and performance.
  • Raises questions about the dynamic interplay between Shakespearean writing and the practices of contemporary performance and performance studies.
  • Written by an international group of major scholars, teachers, and professional theatre makers.
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Editorial Reviews

From the Publisher
"The volume compiles superb essays written by an excellent cast of 34 contributors and edited by star scholars" Choice
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Product Details

Meet the Author

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.

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Table of Contents

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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