The Oxford Handbook of Shakespeare and Performance
Published on 29. April 2020
Book
Paperback/Softback
698 pages
978-0-19-886401-1 (ISBN)
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
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
Reviews / Votes
James Bulman is to be congratulated for having amassed a diversified collection of essays with reference to the contemporaneity of Shakespeare for Western audiences. * Susan L. Fischer, Bulletin of the Comediantes *More details
Language
English
Place of publication
Oxford
United Kingdom
Target group
College/higher education
Professional and scholarly
Illustrations
40 black and white halftones
Dimensions
Height: 244 mm
Width: 170 mm
Thickness: 37 mm
Weight
1183 gr
ISBN-13
978-0-19-886401-1 (9780198864011)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Person
Edited by James C. Bulman, Henry B. and Patricia Bush Tippie Professor of English, Allegheny College
James C. Bulman holds the Henry B. and Patricia Bush Tippie Chair in English at Allegheny College. General editor, with Carol Rutter, of the Shakespeare in Performance Series for Manchester University Press, he has written a performance history of The Merchant of Venice (1991) and edited anthologies on Shakespeare on Television (with H. R. Coursen, 1988), Shakespeare, Theory, and Performance (1996), and Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance (2008). His other books include The Heroic Idiom of Shakespearean Tragedy (1985), Comedy from Shakespeare to Sheridan (with A. R. Braunmuller, 1986), and, most recently, an edition of King Henry IV, Part Two for The Arden Shakespeare , Third Series (2016). He is a former president of the Shakespeare Association of America.
James C. Bulman holds the Henry B. and Patricia Bush Tippie Chair in English at Allegheny College. General editor, with Carol Rutter, of the Shakespeare in Performance Series for Manchester University Press, he has written a performance history of The Merchant of Venice (1991) and edited anthologies on Shakespeare on Television (with H. R. Coursen, 1988), Shakespeare, Theory, and Performance (1996), and Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance (2008). His other books include The Heroic Idiom of Shakespearean Tragedy (1985), Comedy from Shakespeare to Sheridan (with A. R. Braunmuller, 1986), and, most recently, an edition of King Henry IV, Part Two for The Arden Shakespeare , Third Series (2016). He is a former president of the Shakespeare Association of America.
Content
James C. Bulman: Introduction: Cross-Currents in Performance Criticism
PART I: EXPERIMENTAL SHAKESPEARE
1: Susan Bennett: Experimental Shakespeare
2: Bridget Escolme: Shakespeare and the Contemporary: Psychology, Culture, and Audience in Othello Production
3: Roberta Barker: 'Deared by Being Lacked': The Realist Legacy and the Art of Failure in Shakespearean Performance
4: Carol Chillington Rutter: Shakespeare for Dummies, or 'See the Puppets Dallying'
5: Peter Kirwan: Not-Shakespeare and the Shakespearean Ghost
6: Kim Solga: Shakespeare's Property Ladder: Women Directors and the Politics of 'Ownership'
7: Andrew James Hartley: Dialectical Shakespeare: Pedagogy in Performance
8: Ton Hoensalaars: Captive Shakespeare
PART II: RECEPTION
9: Ayanna Thompson: (How) Should We Listen to Audiences? Race, Reception, and the Audience Survey
10: Peter Holland: Forgetting Performance
11: Cary M. Mazer: Documenting the Demotic: Actor Blogs and the Guts of the Opera Singer
12: Robert Shaughnessy: The Time is Out of Joint: Shakespeare, Jet Lag, and the Rhythms of Performance
13: Paul Menzer: Archives and Anecdotes
14: Robert Conkie: Reveries of a Shakespearean Walker
15: Katherine Prince: Intimate and Epic Macbeths in Contemporary Performance
PART III: MEDIA AND TECHNOLOGY
16: Thomas Cartelli: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman Tragedies and the Problem of Spectatorship
17: Stephen Purcell: 'It's All a Bit of a Risk': Reformulating 'Liveness' in Twenty-First Century Performances of Shakespeare
18: Pascale Aebischer: Technology and the Ethics of Spectatorship
19: W. B. Worthen: Shakespearean Technicity
20: Sarah Werner: Performance in Digital Editions of Shakespeare
21: Anthony R. Guneratne: Shakespeare's Rebirth: Performance in Music, Dance, Theatre, and Cinema in the Age of Electro-Digital Reproduction
22: Scott Newstok: Making 'Music at the Editing Table': Echoing Verdi in Welles' Othello
23: Samuel Crowl: 'Nobody's Perfect': Cross-Dressing and Gender-Bending in Sven Gade's Hamlet and Julie Taymor's Tempest
24: Courtney Lehmann: Can the Subaltern Sing? Liz White's Othello
PART IV: GLOBAL SHAKESPEARE
25: Alexa Alice Joubin: Global Shakespeare Criticism beyond the Nation-State
26: Dennis Kennedy: Global Shakespeare and Globalized Performance
27: Christie Carson: Performance, Presence, and Personal Responsibility: Witnessing Global Theatre in and around the Globe
28: Sonia Massai: Shakespeare with and without its Language
29: Rose Elfman: Slapstick against Stereotypes in South Sudan's Cymbeline
30: Colette Gordon: Open and Closed: Workshopping Shakespeare in South Africa
31: Adele Seeff: Indigenizing Shakespeare in South Africa
32: Alfredo Michel Modenessi: 'Victim of Improvisation' in Latin America: Shakespeare Out-sourced and In-taken
33: Robert Ormsby: Global Cultural Tourism at Canada's Stratford Festival: The Adventures of Pericles
34: Michiko Suematsu: Verbal and Visual Representations in Modern Japanese Shakespeare Productions
35: Li Ruru: There Is a World Elsewhere: Shakespeare on the Chinese Stage
36: Yong Li Lan: Translating Performance: the Asian Shakespeare Intercultural Archive
PART I: EXPERIMENTAL SHAKESPEARE
1: Susan Bennett: Experimental Shakespeare
2: Bridget Escolme: Shakespeare and the Contemporary: Psychology, Culture, and Audience in Othello Production
3: Roberta Barker: 'Deared by Being Lacked': The Realist Legacy and the Art of Failure in Shakespearean Performance
4: Carol Chillington Rutter: Shakespeare for Dummies, or 'See the Puppets Dallying'
5: Peter Kirwan: Not-Shakespeare and the Shakespearean Ghost
6: Kim Solga: Shakespeare's Property Ladder: Women Directors and the Politics of 'Ownership'
7: Andrew James Hartley: Dialectical Shakespeare: Pedagogy in Performance
8: Ton Hoensalaars: Captive Shakespeare
PART II: RECEPTION
9: Ayanna Thompson: (How) Should We Listen to Audiences? Race, Reception, and the Audience Survey
10: Peter Holland: Forgetting Performance
11: Cary M. Mazer: Documenting the Demotic: Actor Blogs and the Guts of the Opera Singer
12: Robert Shaughnessy: The Time is Out of Joint: Shakespeare, Jet Lag, and the Rhythms of Performance
13: Paul Menzer: Archives and Anecdotes
14: Robert Conkie: Reveries of a Shakespearean Walker
15: Katherine Prince: Intimate and Epic Macbeths in Contemporary Performance
PART III: MEDIA AND TECHNOLOGY
16: Thomas Cartelli: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman Tragedies and the Problem of Spectatorship
17: Stephen Purcell: 'It's All a Bit of a Risk': Reformulating 'Liveness' in Twenty-First Century Performances of Shakespeare
18: Pascale Aebischer: Technology and the Ethics of Spectatorship
19: W. B. Worthen: Shakespearean Technicity
20: Sarah Werner: Performance in Digital Editions of Shakespeare
21: Anthony R. Guneratne: Shakespeare's Rebirth: Performance in Music, Dance, Theatre, and Cinema in the Age of Electro-Digital Reproduction
22: Scott Newstok: Making 'Music at the Editing Table': Echoing Verdi in Welles' Othello
23: Samuel Crowl: 'Nobody's Perfect': Cross-Dressing and Gender-Bending in Sven Gade's Hamlet and Julie Taymor's Tempest
24: Courtney Lehmann: Can the Subaltern Sing? Liz White's Othello
PART IV: GLOBAL SHAKESPEARE
25: Alexa Alice Joubin: Global Shakespeare Criticism beyond the Nation-State
26: Dennis Kennedy: Global Shakespeare and Globalized Performance
27: Christie Carson: Performance, Presence, and Personal Responsibility: Witnessing Global Theatre in and around the Globe
28: Sonia Massai: Shakespeare with and without its Language
29: Rose Elfman: Slapstick against Stereotypes in South Sudan's Cymbeline
30: Colette Gordon: Open and Closed: Workshopping Shakespeare in South Africa
31: Adele Seeff: Indigenizing Shakespeare in South Africa
32: Alfredo Michel Modenessi: 'Victim of Improvisation' in Latin America: Shakespeare Out-sourced and In-taken
33: Robert Ormsby: Global Cultural Tourism at Canada's Stratford Festival: The Adventures of Pericles
34: Michiko Suematsu: Verbal and Visual Representations in Modern Japanese Shakespeare Productions
35: Li Ruru: There Is a World Elsewhere: Shakespeare on the Chinese Stage
36: Yong Li Lan: Translating Performance: the Asian Shakespeare Intercultural Archive