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Presents 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.
List of contents
- 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
About the author
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.
Summary
Presents 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.
Additional text
James Bulman is to be congratulated for having amassed a diversified collection of essays with reference to the contemporaneity of Shakespeare for Western audiences.
