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.
Innehållsförteckning
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 Architecture13
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 Performance121
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 Juliet197
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 Mc Luskie
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 2002Stratford 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 Spaceand 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 Technologies397
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 Performanceof 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 Productionsof 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 manhath not seen”: Teaching Tools for Speaking Shakespeare 644
Peter Lichtenfels
Index 659
Om författaren
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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