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.

Notes on Contributors.

Acknowledgments.

Introduction: A Kind of History: Barbara Hodgdon (University of Michigan, Ann Arbor).

Part I: Overviews: Terms of Performance.

1. Reconstructing Love: King Lear and Theatre Architecture: Peggy Phelan(Stanford University).

2. Shakespeare's Two Bodies: Peter Holland (University of Notre Dame).

3. Ragging Twelfth Night 1602, 1996, 2002-3: Bruce R. Smith (University of Southern California).

4. On Location: Robert Shaughnessy (University of Kent).

5. Where is Hamlet? Text, Performance, and Adaptation: Margaret Jane Kidnie (University of Western Ontario).

6. Shakespeare and the Possibilities of Postcolonial Performance: Ania Loomba (University of Pennsylvania).

Part II: Materialities: Writing and Performance.

7. The Imaginary Text, or, The Curse of the Folio: Anthony B. Dawson (University of British Columbia).

8. Shakespeare Screen/Play: Laurie E. Osborne (Colby College).

9. What does the Cued Part Cue? Parts and Cues in Romeo and Juliet: Simon Palfrey (University of Liverpool) and Tiffany Stern (author).

10. Editors in Love? Performing Desire in Romeo and Juliet: Wendy Wall (Northwestern University).

11. Prefixing the Author: Print, Plays, and Performance: W. B. Worthen (Barnard College, Columbia University).

Part III: Histories.

12. Shakespeare the Victorian: Richard Schoch (University of London).

13. Shakespeare Goes Slumming: Harlem '37 and Birmingham '97: Kathleen McLuskie (Shakespeare Institute, Stratford upon Avon).

14. Stanislavski, Othello, and the Motives of Eloquence: John Gillies (University of Essex).

15. Shakespeare, Henry VI, and the Festival of Britain: Stuart Hampton-Reeves (University of Central Lancashire).

16. Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival: Ric Knowles (University of Guelph).

17. Performance as Deflection: Miriam Gilbert (University of Iowa).

18. Maverick Shakespeare: Carol Chillington Rutter (University of Warwick).

19. Inheriting the Globe: The Reception of Shakespearian Space and Audience in Contemporary Reviewing: Paul Prescott (University of Warwick).

20. Performing History: Henry IV, Money, and the Fashion of the Times: Diana E. Henderson (MIT).

Part IV: Performance Technologies, Cultural Technologies.

21. "Are We Being Theatrical Yet?": Actors, Editors, and the Possibilities of Dialogue: Michael Cordner (University of York).

22. Shakespeare on the Record: Douglas Lanier (University of New Hampshire).

23. Sshockspeare: (Nazi) Shakespeare Goes Heil-lywood: Richard Burt (University of Florida).

24. Game Space/Tragic Space: Julie Taymor's Titus: Peter S. Donaldson (MIT).

25. Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture: Elizabeth A. Deitchman (University of California).

26. Shakespeare on Vacation: Susan Bennett (University of Calgary).

Part V: Identities of Performance.

27. Visions of Color: Spectacle, Spectators, and the Performance of Race: Margo Hendricks (University of California, Santa Cruz).

28. Shakespeare and the Fiction of the Intercultural: Yong Li Lan.

29. Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe: G. B. Shand (York University, Canada).

30. Queering the Audience: All-Male Casts in Recent Shakespeare Productions: James C. Bulman (Allegheny College).

31. A Thousand Shakespeares: From Cinematic Saga to Feminist Geography; or, The Escape from Iceland: Courtney Lehmann (University of the Pacific).

32. Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions: Joanne Tompkins (University of Queensland).

Part VI: Performing Pedagogies.

33. Teaching through Performance: James N. Loehlin (University of Texas, Austin).

34. "The eye of man hath not heard,/The ear of man hath not seen": Teaching Tools for Speaking Shakespeare: Peter Lichtenfels (University of California, Davis).

Index

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