The Oxford Handbook of Shakespeare and Performance
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Product details:
- Publisher OUP Oxford
- Date of Publication 29 April 2020
- ISBN 9780198864011
- Binding Paperback
- No. of pages698 pages
- Size 241x167x39 mm
- Weight 1182 g
- Language English
- Illustrations 40 black and white halftones 0
Categories
Short description:
Presents the most current approaches to Shakespeare in performance, including how experimental modes of performance ensure Shakespeare's contemporaneity; how and why audiences respond to performances as they do; how technology has revolutionized our access to Shakespeare, and cultural appropriation in productions for international audiences.
MoreLong description:
The Oxford Handbooks to Shakespeare are designed to record past and present investigations and renewed and revised judgments by both familiar and younger Shakespeare specialists. Each of these volumes is edited by one or more internationally distinguished Shakespeareans; together, they comprehensively survey the entire field.
Shakespearean performance criticism has firmly established itself as a discipline accessible to scholars and general readers alike. And just as performances of the plays expand audiences' understanding of how Shakespeare speaks to them, so performance criticism is continually shifting the contours of the discipline. The 36 contributions in this volume represent the most current approaches to Shakespeare in performance. They are divided into four parts. Part I explores how experimental modes of performance ensure Shakespeare's contemporaneity. Part II tackles the burgeoning field of reception: how and why audiences respond to performances as they do. Part III addresses the ways in which technology has revolutionized our access to Shakespeare, both through the mediums of film and sound recording and through digitalization. Part IV grapples with 'global' Shakespeare, considering matters of cultural appropriation in productions played for international audiences. Together, these ground-breaking essays attest to the richness and diversity of Shakespearean performance criticism as it is practiced today
James Bulman is to be congratulated for having amassed a diversified collection of essays with reference to the contemporaneity of Shakespeare for Western audiences.
Table of Contents:
Introduction: Cross-Currents in Performance Criticism
PART I: EXPERIMENTAL SHAKESPEARE
Experimental Shakespeare
Shakespeare and the Contemporary: Psychology, Culture, and Audience in Othello Production
'Deared by Being Lacked': The Realist Legacy and the Art of Failure in Shakespearean Performance
Shakespeare for Dummies, or 'See the Puppets Dallying'
Not-Shakespeare and the Shakespearean Ghost
Shakespeare's Property Ladder: Women Directors and the Politics of 'Ownership'
Dialectical Shakespeare: Pedagogy in Performance
Captive Shakespeare
PART II: RECEPTION
(How) Should We Listen to Audiences? Race, Reception, and the Audience Survey
Forgetting Performance
Documenting the Demotic: Actor Blogs and the Guts of the Opera Singer
The Time is Out of Joint: Shakespeare, Jet Lag, and the Rhythms of Performance
Archives and Anecdotes
Reveries of a Shakespearean Walker
Intimate and Epic Macbeths in Contemporary Performance
PART III: MEDIA AND TECHNOLOGY
High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman Tragedies and the Problem of Spectatorship
'It's All a Bit of a Risk': Reformulating 'Liveness' in Twenty-First Century Performances of Shakespeare
Technology and the Ethics of Spectatorship
Shakespearean Technicity
Performance in Digital Editions of Shakespeare
Shakespeare's Rebirth: Performance in Music, Dance, Theatre, and Cinema in the Age of Electro-Digital Reproduction
Making 'Music at the Editing Table': Echoing Verdi in Welles' Othello
'Nobody's Perfect': Cross-Dressing and Gender-Bending in Sven Gade's Hamlet and Julie Taymor's Tempest
Can the Subaltern Sing? Liz White's Othello
PART IV: GLOBAL SHAKESPEARE
Global Shakespeare Criticism beyond the Nation-State
Global Shakespeare and Globalized Performance
Performance, Presence, and Personal Responsibility: Witnessing Global Theatre in and around the Globe
Shakespeare with and without its Language
Slapstick against Stereotypes in South Sudan's Cymbeline
Open and Closed: Workshopping Shakespeare in South Africa
Indigenizing Shakespeare in South Africa
'Victim of Improvisation' in Latin America: Shakespeare Out-sourced and In-taken
Global Cultural Tourism at Canada's Stratford Festival: The Adventures of Pericles
Verbal and Visual Representations in Modern Japanese Shakespeare Productions
There Is a World Elsewhere: Shakespeare on the Chinese Stage
Translating Performance: the Asian Shakespeare Intercultural Archive
