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This short history of Shakespeare in global performance-from the re-opening of London theatres upon the restoration of the monarchy in 1660 to our present multicultural day-provides a comprehensive overview of Shakespeare's theatrical afterlife and introduces categories of analysis and understanding to make that afterlife intellectually meaningful. Written for both the advanced student and the practicing scholar, this work enables readers to situate themselves historically in the broad field of Shakespeare performance studies and equips them with analytical tools and conceptual frameworks for making their own contributions to the field.
This innovative book provides a historical account of performance space within the theatrical traditions of western Europe. David Wiles takes a broad-based view of theatrical activity as something that occurs in churches, streets, pubs and galleries as much as in buildings explicitly designed to be 'theatres'. He traces a diverse set of continuities from Greece and Rome to the present, including many areas that do not figure in standard accounts of theatre history.
Most studies of the performance of Shakespeare's work concentrate on how the text has been played and what meanings have been conveyed through acting and interpretive directing. Dennis Kennedy demonstrates that much of audience response is determined by the visual representation, which is normally more immediate and direct than the aural conveyance of a text. Ranging widely over productions in Britain, Europe, Japan and North America, Kennedy gives a thorough account of the main scenographic movements of the century, investigating how the visual relates to Shakespeare on the stage. The second edition of this acclaimed history includes a new chapter on Shakespeare performance in the 1990s, bringing the story up to date by drawing on examples from a wide international field. There are more than twenty new illustrations, some of them in colour (bringing the total number of illustrations to almost 200), and previous references have been updated.
(Book). Shakespeare was a man of the theatre to his core, so it is no surprise that he repeatedly contemplated the nuts and bolts of his craft in his plays and poems. Shakespeare scholar Nick de Somogyi here draws together all the cherishable set pieces including "All the world's a stage," Hamlet's encounters with the Players, and Bottom's amateur theatricals along with many other oblique but no less revealing glances, and further insights into theatre practice by Shakespeare's contemporaries and rivals. De Somogyi's commentary takes us through the entire process of Shakespeare's theatrical production, from its casting and auditions, via rehearsals, costumes, and props, to its premiere and audience reception. Shakespeare on Theatre eavesdrops on the urgently whispered noises-off in the "tiring-house" and inhales the heady aroma of the Globe's first audiences.
This volume traces the uses of music in Shakespearean performance from the first Globe and Blackfriars to contemporary, global productions.
Examining how technological developments in performance practices affect spectator experience of Shakespeare and early modern drama.
In requiring artificial light, the early modern indoor theatre had to interrupt the action so that the candles could be attended to, if necessary. The origin of the five-act, four-interval play was not classical drama but candle technology. This Element explores the implications of this aspect of playmaking. Drawing on evidence in surviving texts it explores how the interval affected composition and stagecraft, how it provided opportunities for stage-sitters, and how amphitheatre plays were converted for indoor performance (and vice versa). Recovering the interval yields new insights into familiar texts and brings into the foreground interesting examples of how the interval functioned in lesser-known plays. This Element concludes with a discussion of how this aspect of theatre might feed into the debate over the King's Men's repertory management in its Globe-Blackfriars years and sets out the wider implications for both the modern theatre and the academy.
In Imaginary Performances in Shakespeare, visionary modernist theatre director Aureliu Manea analyses the theatrical possibilities of Shakespeare. Through nineteen Shakespeare plays, Manea sketches the intellectual parameters, the visual languages, and the emotional worlds of imagined stage interpretations of each; these nineteen short essays are appended by his essay ‘Confessions,’ an autobiographical meditation on the nature of theatre and the role of the director. This captivating book which will be attractive to anyone interested in Shakespeare and modern theatre.