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Challenging received scholarship on the practice of Shakespeare's theatre, this book displaces a contemporary cultural bias towards leadership models to reconsider possibilities of working in a non-hierarchical and inclusive creative theatrical practice. It offers ways of restoring to actors a sense of what the existentialists termed "autonomy" that Shakespeare's company would have embodied. Against a critical account of two major Shakespeare playhouses - Shakespeare's Globe, London and the American Shakespeare Center - the book describes the original practice-based research by An¿rk¿ Shakespeare and V.enice S.hakespeare C.ompany without a controlling director. Their staging of three directorless Shakespeare plays, and his narrative poem
The Rape of Lucrece, with diverse actors, performance spaces, languages and countries, explores multilingual, intersectional, cross-disciplinary and international possibilities of early modern performance and study.
Directorless Shakespeare as "Embodied Literary Criticism" releases the dialogical forces of Shakespeare's texts, which are more fully served by the centrifugal force of the collective ensemble rather than the centripetal force of the single director. It allows texts to speak fully and multiply, in democratic exchange with an audience, liberated from directorial or theoretically driven concepts.
Directorless Shakespeare will be of great interest to students and scholars in theatre and performance studies, professional practitioners and historians.
List of contents
Prologue
. Opening the curtain - Expressing hidden backgrounds, changing the narrative, destabilising hierarchies, empowering the collective
Chapter 1
The Globe: Redistributing power, smashing the mirror up to nature
Chapter 2
"We do it with the lights on": Actors' Renaissance Season at the Blackfriars Playhouse
Chapter 3
An¿rk¿ Shakespeare's
Richard II: Devolved authority and decolonising theatrical practice
Chapter 4
Much Ado About Italy: Embracing alterity,
Much Ado About Nothing/Molto Rumore Per Nulla, staging Shakespeare's comedy in Venice, Italy
Chapter 5
An¿rk¿ Shakespeare's
Macbeth: a spectral tragedy, by the graves of Shakespeare and Burbage
Chapter 6
The Rape of Lucrece: "So much grief and not a tongue" - Lucrece's embodied voice in performance
Epilogue. Tearing the curtain down
About the author
Elena M. Pellone is a graduate of Western Australian Academy of Performing Arts and the Royal Academy of Dramatic Arts (Shakespeare). She has a BA from the University of Melbourne and an MA and PhD from the Shakespeare Institute, University of Birmingham. She is Artistic Facilitator of the V.enice S.hakespeare C.ompany and An¿rk¿ Shakespeare with whom she creates Directorless Shakespeare productions in the United Kingdom, Europe and the United States.
