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In this highly entertaining study, De Sousa argues that Shakespeare reinterprets, refashions and reinscribes his alien characters - Jews, Moors, Amazons and gypsies. In this way, the dramatist questions the narrowness of a European perspective which caricatures other societies and views them with suspicion. De Sousa examines how Shakespeare defines other cultures in terms of the interplay of gender, text and habitat. Written in a provocative style, this readable book provides a wealth of fascinating information both on contemporary stage productions and on race and gender relations in early modern Europe.
When life becomes one big drama, let history's greatest life coach help you rewrite it. Bard expert Laurie Maguire brings her knowledge and love of Shakespeare to bear on the great-and small-challenges that all readers face today. As she illustrates in this witty, accessible, and unique self-help book, all one really needs is Shakespeare when it comes to understanding life. Covering such universal subjects as identity, the battle of the sexes, family relationships, love, loss and death, Maguire shows how the dilemmas illustrated in Shakespeare's plays can help readers explore their own emotions and judgments. Together, Maguire and Shakespeare offer suggestions, comfort, empathy, and encouragement as they set out a timeless principle for living. To read Shakespeare is to understand what it means to be human. To read Where There's a Will There's a Way is to better understand how to deal with it.
Masculinity and Marian Efficacy in Shakespeare's England offers a new approach to evaluating the psychological 'loss' of the Virgin Mary in post-Reformation England by illustrating how, in the wake of Mary's demotion, re-inscriptions of her roles and meanings only proliferated, seizing hold of national imagination and resulting in new configurations of masculinity. The author surveys the early modern cultural and literary response to Mary's marginalization, and argues that Shakespeare employs both Roman Catholic and post-Reformation views of Marian strength not only to scrutinize cultural perceptions of masculinity, but also to offer his audience new avenues of exploring both religious and gendered subjectivity. By deploying Mary's symbolic valence to infuse certain characters, and dramatic situations with feminine potency, Espinosa analyzes how Shakespeare draws attention to the Virgin Mary as an alternative to an otherwise unilaterally masculine outlook on salvation and gendered identity formation.
This books looks at Antony and Cleopatra in performance from 1606 to 2018, examining how actors, directors and designers pick up the play's themes of desire and delinquency, exoticism and erotic politics to locate the most ambituous love story ever told in a new present. Is the play tragedy? Comedy? Farce? Rutter shows it's all three.
The Oxford Handbook of Shakespeare and Embodiment brings together 42 of the most important scholars writing on the subject today. They explore representations of gender in the context of race, ethnicity, sexuality, disability, and religion, and consider Shakespeare's life, contemporary editing practices, and the performance of his plays.
This volume offers a comprehensive array of readings of 'skin' in Shakespeare's works, a term that embraces the human and animal, noun and verb. Shakespeare / Skin departs from previous studies as it deliberately and often explicitly engages with issues of social and racial justice. Each of the chapters interrogates and centres 'skin' in relation to areas of expertise that include performance studies, aesthetics, animal studies, religious studies, queer theory, Indigenous studies, history, food studies, border studies, postcolonial studies, Black feminism, disease studies and pedagogy. By considering contemporary understandings of skin, this volume examines how the literature of the early modern past creates paths to constructing racial hierarchies. With contributors from the USA, UK, South Africa, India, Sri Lanka, Singapore and Australia, chapters are informed by an array of histories, shedding light on how skin was understood in Shakespeare's time and at key moments during the past 400 years in different media and cultures. Chapters include considerations of plays such as Titus Andronicus, The Tempest and A Midsummer Night's Dream, and work by Borderlands Theater, Los Colochos and Satyajit Ray, among many others. For researchers and instructors, this book will help to shape teaching and inform research through its modelling of antiracist critical practice. Collectively, the chapters in this collection allow us to consider how sustained attention to skin via cross-historical and innovative approaches can reveal to us the various uses of Shakespeare that shed light on the fraught nature of our interrelatedness. They set a path for readers to consider how much skin they have in the game when it comes to challenging structures of racism.
The Diva's Gift traces the far-reaching impact of the first female stars on the playwrights and players of the all-male stage. When Shakespeare entered the scene, women had been acting in Italian troupes for two decades, traveling in Italy and beyond and performing in all genres, including tragedy. The ambitious actress reinvented the innamorata, making her more charismatic and autonomous, thrilling audiences with her skills. Despite fervent attacks, some actresses became the first international stars, winning royal and noble patrons and literary admirers in France and Spain. After Elizabeth and her court caught wind of their success in Paris, Italian troupes with actresses crossed the Channel to perform. The Italians' repeat visits and growing fame posed a radical challenge to English professionals just as they were building their first paying theaters. Some writers treated the actress as a whorish threat to their stage, which had long minimized female roles. Others saw a vital new model full of promise. Lyly, Marlowe, and Kyd endowed innamorata parts with hot-blooded, racialized passions, but made them self-aware agents, not counters traded between men. Shakespeare, Jonson, Webster and others followed, ringing changes on the new type in comedy, tragedy, and romance. Like the comici they recycled actress-linked theatergrams and star scenes, such as cross-dressing, the mad scene, and the sung lament. In this way, the diva's prodigious virtuosity and stardom altered the horizons of playmaking even on the womanless stage. Capitalizing on the talents of boy players, the best playwrights created bold new roles endowed with her alien glamour, such as Lyly's Sapho and Pandora, Marlowe's Dido, Kyd's Bel-Imperia, Webster's Vittoria, and Shakespeare's Beatrice, Viola, Portia, Juliet, and Ophelia. Cleopatra is not alone in her superb theatricality and dazzling strangeness. As this book demonstrates, the diva's gifts mark them all.
The Winter's Tale is a play by William Shakespeare originally published in the First Folio of 1623. Although it was grouped among the comedies, many modern editors have relabelled the play as one of Shakespeare's late romances. Some critics consider it to be one of Shakespeare's problem plays because the first three acts are filled with intense psychological drama, while the last two acts are comedic and supply a happy ending
Providing a feminist interpretation of the plays that has been written, this work is aimed at feminists.