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This collection is the first study of student Shakespeare productions at universities and colleges across the world.
List of contents
Introduction: tragedians of the city, little eyases or rude mechanicals? Andrew James Hartley; 1. Campus Shakespeare: fragments of a history, fragments of a concept Peter Holland; 2. Performance, religion and Shakespeare: staging ideology at Notre Dame Mark C. Pilkinton; 3. George Rylands and Cambridge University Shakespeare Michael Cordner; 4. Women who will make a difference: Shakespeare at Wellesley College Yu Jin Ko; 5. Appropriating Shakespeare on campus: an Indian perspective Angelie Multani; 6. Ideology and student performances in China Lee Chee Keng and Yong Li Lan; 7. Shakespeare without resources: staging Shakespeare in the Midwest Andrea Stevens; 8. Shakespeare isn't just for the professionals: Shakespeare on the German campus Christa Jansohn; 9. Holofernes, Peregrine and I: Australian campus Shakespeare Rob Conkie; 10. The politics and economics of Malaysian campus productions of Shakespeare Nurul Farhana Low bt Abdullah; 11. The Performance Research Group's Anthony and Cleopatra (2010) Jacquelyn Bessell; 12. The laws of Athens: Shakespeare and the campus economy Paul Menzer; 13. Queering Shakespeare in the American South Chad Allen Thomas; 14. Shakespeare laboratories and performance-as-research Jonathan Heron; 15. The small-college stage: is there still room for Shakespeare? Douglas E. Green; 16. The Shakespeare performance campus W. B. Worthen; Index.
About the author
Andrew James Hartley is Robinson Professor of Shakespeare Studies in the Department of Theatre at the University of North Carolina, Charlotte. He is the author of The Shakespearean Dramaturg (2005), Shakespeare and Political Theatre (2013) and a performance history of Julius Caesar (2014), and was General Editor, until 2013, of Shakespeare Bulletin. He is also the author of many novels and a frequent director for UNC Charlotte campus productions.
Summary
Featuring sixteen new essays written by an international team of contributors, this is the first study exploring the unique conditions surrounding staging Shakespeare by, and for, students. It is of great interest to students and scholars of Shakespeare studies, theatre, and performance studies.
