Description
Book SynopsisPresents 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.
Trade ReviewJames 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 *
Table of ContentsJames 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
