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Zusatztext Romeo and Juliet, Adaptation and the Arts shows how Shakespeare’s “star-crossed” lovers have unfinished cultural business. From dance and ballet to production case studies, and from Romeo cyborgs in complex TV to vampire Juliets, the volume theorises adaptations as re-constellations, expansions and creative collaborations with Shakespeare. Informationen zum Autor Julia Reinhard Lupton is Professor of English at the University of California, Irvine, USA. Ariane Helou is Scientific Writing Specialist at the Beckman Institute, California Institute of Technology, USA. She was previously a faculty member at UCLA and at UC Santa Cruz, where she earned her PhD in Literature. Her research considers theories of voice and the relation of voice to body, gender, and affect in theatrical and musical practices in early modern England, Italy, and France. Klappentext Romeo and Juliet is the most produced, translated and re-mixed of all of Shakespeare's plays. This volume takes up the iconographic, linguistic and performance layers already at work within it and tracks the play's dispersal into neighbouring art forms - including ballet, opera, television and architecture - and geographical locations, including Italy, Ireland, France, India and Korea.Chapters trace Shakespeare's own acts of adaptation and appropriation of sources and the play's subsequent migrations into other media. Part One considers reworkings of Romeo and Juliet in Hector Berlioz's 1839 choral symphony and ballets choreographed by Sir Kenneth MacMillan and John Neumeier. Part Two explores the afterlives of Shakespeare's lovers in the narrative forms of fiction, film and serial television, including works by James Joyce, Samuel Beckett and HBO's series Westworld .Part Three examines dramatic adaptations of the play into other languages, dialects and cultural contexts. Authors consider Hindi translations and the complex and changing status of Shakespeare's work in India, as well as productions of the play in Korea set against its evolving history. The volume ends with a first-person account of staging Romeo and Juliet at an HBCU (historically Black college/university), documenting the tensions between the notion of Shakespeare as a universal author and the lived experiences of marginalized communities as they engage with his plays. Vorwort This volume takes up the diverse iconographic, linguistic, and performance layers already operative in Shakespeare’s Romeo and Juliet and tracks the play’s dispersal into neighboring art forms and geographical locations. Zusammenfassung Romeo and Juliet is the most produced, translated and re-mixed of all of Shakespeare’s plays. This volume takes up the iconographic, linguistic and performance layers already at work within it and tracks the play’s dispersal into neighbouring art forms – including ballet, opera, television and architecture – and geographical locations, including Italy, Ireland, France, India and Korea.Chapters trace Shakespeare's own acts of adaptation and appropriation of sources and the play's subsequent migrations into other media. Part One considers reworkings of Romeo and Juliet in Hector Berlioz's 1839 choral symphony and ballets choreographed by Sir Kenneth MacMillan and John Neumeier. Part Two explores the afterlives of Shakespeare’s lovers in the narrative forms of fiction, film and serial television, including works by James Joyce, Samuel Beckett and HBO's series Westworld .Part Three examines dramatic adaptations of the play into other languages, dialects and cultural contexts. Authors consider Hindi translations and the complex and changing status of Shakespeare's work in India, as well as productions of the play in Korea set against its evolving history. The volume ends with a first-person account of staging Romeo and Juliet at an HBCU (historically Black colle...
