Using nine recent theatrical and cinematic productions as case studies, it considers the productive contradictions and tensions that occur when contemporary actors perform the gender norms of previous cultures. It will be of interest to theatre practitioners as well as to students of early modern drama, of performance, and of gender studies.
Reviews / Votes
'This sophisticated yet very readable study explores the impact of debates about gender on recent interpretations of early modern tragedy, on stage and celluloid. Roberta Barker uses her specialist knowledge of Renaissance culture and expertise in feminist theory to analyse how challenges to conventional gender roles have shaped a diverse range of key productions, from RSC stagings of The Duchess of Malfi and other Jacobean tragedies to Derek Jarman's Edward II . In the process, she presents a compelling new perspective on the demands of late twentieth-century theatre- or film-going that charts the different ways in which such productions appeal to the politically engaged spectator. Barker also demonstrates how these dramatic reengagements with early modern culture allude repeatedly to the disturbing fluidity of identity concealed behind the superficial destiny that is imposed by gender.' - Philippa Berry, Department of English, University of Bristol, UK
Edition
Language
Place of publication
Publishing group
Target group
Professional and scholarly
Product notice
sewn/stitched
Cloth over boards
With dust jacket
Illustrations
Dimensions
Height: 216 mm
Width: 140 mm
Thickness: 16 mm
Weight
ISBN-13
978-1-4039-9479-0 (9781403994790)
DOI
Schweitzer Classification
ROBERTA BARKER is Associate Professor of Theatre and Early Modern Studies at Dalhousie University/The University of King's College, Halifax, Nova Scotia, Canada. She has published articles on the drama of Ford, Middleton, Shakespeare, Webster and Stoppard in performance, and has edited
Common Conditions
(1576) for the Malone Society.
List of Figures Acknowledgements List of Abbreviations Introduction: The Destined Livery? PART ONE: REALISM AND REINSCRIPTION What We Are, But Not What We May Be: The 'Feminist' Ophelia and the Reproduction of Gender An Actor in the Main of All: Individual and Relational Selves in The Duchess of Malfi The Natural Father and the Imaginary Daughter: Patriarchy as Realism and Representation in Titus PART TWO: PERFORMANCE AND PERFORMATIVITY 'Let Me Forget Myself': What a Queen is Good For in Edward II Death and the Married Maiden: Gender Reproduction as Destruction in The Broken Heart Tricked Like a Bride: A New Traffic in A Woman Killed with Kindness Conclusion: Cultural Drag, or, Hamlet and Ophelia Redux Appendix: Casts, Production Teams, and Opening Dates of Productions Discussed Bibliography Index Index
