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Shakespeare / Space explores new approaches to the enactment of 'space' in and through Shakespeare's plays, as well as to the material, cognitive and virtual spaces in which they are enacted. With contributions from 14 leading and emergent experts in their fields, the collection forges innovative connections between spatial studies and cultural geography, cognitive studies, memory studies, phenomenology and the history of the emotions, gender and race studies, rhetoric and language, translation studies, theatre history and performance studies. Each chapter offers methodological reflections on intersections such as space/mobility, space/emotion, space/supernatural, space/language, space/race and space/digital, whose critical purchase is demonstrated in close readings of plays like King Lear, The Comedy of Errors, Othello and Shakespeare's history plays. They testify to the importance of space for our understanding of Shakespeare's creative and theatrical practice, and at the same time enlarge our understanding of space as a critical concept in the humanities. It will prove useful to students, scholars, teachers and theatre practitioners of Shakespeare and early modern studies.
This focused but far-reaching work by the distinguished scholar Angus Fletcher reveals how early modern science and English poetry were in many ways components of one process: discovering the secrets of motion. Beginning with the achievement of Galileo, Time, Space, and Motion identifies the problem of motion as the central cultural issue of the time, pursued through the poetry of the age, from Marlowe and Shakespeare to Ben Jonson and Milton.
This collection offers an overview of the ways in which space has become relevant to the study of Shakespearean drama and theatre. It distinguishes various facets of space, such as structural aspects of dramatic composition, performance space and the evocation of place, linguistic, social and gendered spaces, early modern geographies, and the impact of theatrical mobility on cultural exchange and the material world. These facets of space are exemplified in individual essays. Throughout, the Shakespearean stage is conceived as a topological ‘node’, or interface between different times, places and people – an approach which also invokes Edward Soja’s notion of ‘Thirdspace’ to describe the blend between the real and the imaginary characteristic of Shakespeare’s multifaceted theatrical world. Part Two of the volume emphasises the theatrical mobility of Hamlet – conceptually from an anthropological perspective, and historically in the tragedy’s migrations to Germany, Russia and North America.
This volume introduces ‘civic Shakespeare’ as a new and complex category entailing the dynamic relation between the individual and the community on issues of authority, liberty, and cultural production. It investigates civic Shakespeare through Romeo and Juliet as a case study for an interrogation of the limits and possibilities of theatre and the idea of the civic. The play’s focus on civil strife, political challenge, and the rise of a new conception of the individual within society makes it an ideal site to examine how early modern civic topics were received and reconfigured on stage, and how the play has triggered ever new interpretations and civic performances over time. The essays focus on the way the play reflects civic life through the dramatization of issues of crisis and reconciliation when private and public spaces are brought to conflict, but also concentrate on the way the play has subsequently entered the public space of civic life. Set within the fertile context of performance studies and inspired by philosophical and sociological approaches, this book helps clarify the role of theatre within civic space while questioning the relation between citizens as spectators and the community. The wide-ranging chapters cover problems of civil interaction and their onstage representation, dealing with urban and household spaces; the boundaries of social relations and legal, economic, political, and religious regulation; and the public dimension of memory and celebration. This volume articulates civic Romeo and Juliet from the sources of genre to contemporary multicultural performances in political contact-zones and civic ‘Shakespaces,’ exploring the Bard and this play within the context of communal practices and their relations with institutions and civic interests.
Shakespeare / Space explores new approaches to the enactment of 'space' in and through Shakespeare's plays, as well as to the material, cognitive and virtual spaces in which they are enacted. With contributions from 14 leading and emergent experts in their fields, the collection forges innovative connections between spatial studies and cultural geography, cognitive studies, memory studies, phenomenology and the history of the emotions, gender and race studies, rhetoric and language, translation studies, theatre history and performance studies. Each chapter offers methodological reflections on intersections such as space/mobility, space/emotion, space/supernatural, space/language, space/race and space/digital, whose critical purchase is demonstrated in close readings of plays like King Lear, The Comedy of Errors, Othello and Shakespeare's history plays. They testify to the importance of space for our understanding of Shakespeare's creative and theatrical practice, and at the same time enlarge our understanding of space as a critical concept in the humanities. It will prove useful to students, scholars, teachers and theatre practitioners of Shakespeare and early modern studies.
This engaging study offers fresh readings of canonical Shakespeare plays, illuminating ways stagecraft and language of movement create meaning for playgoers. The discussions engage materials from the period, present revelatory readings of Shakespeare's language, and demonstrate how these continually popular texts engage all of us in making meaning.
This engaging study appreciably advances recent critical developments in the way the playwright created his worlds to reflect concurrent cartographic, geopolitical and social anxieties. In seeking to expose the dynamics and fluctuations of power on the stage, Shakespeare's liminal spaces provides a unique set of perspectives through which Shakespeare’s forests, battlefields, shores and gardens are revealed as deliberate dramatic devices with the capacity to destabilise social structures. Haworth’s nuanced consideration of these spaces reveals that they were ideally suited to the staging of social frictions as he traces the shifting balance of power between opposing ideological standpoints and the internal struggles between an emergent subjectivity and conformity with the centralised authorities of Church and Court.
The collection, edited by Annalisa Castaldo and Rhonda Knight, features essays by scholars interested in exploring how the material culture of sixteenth and early seventeenth English theatrical culture influenced the creation and presentation of drama and how understanding this culture can enrich scholars’ current interactions with these plays as well as offer insights to actors and directors. The essays include discussions of plays by Shakespeare, Marlowe, and Middleton as well as lesser known works and playwrights. This collection is unique in that it includes the body of the actor as a material object that is encountered and manipulated by other actors on the stage. These essays demonstrate how props, bodies and the architectural dimensions of early modern stages have both practical and symbolic registers.
Theatre Design involves everything seen on stage: not only scenery but costumes, wigs, makeup, properties, lighting, sound, even the shape and material of the stage itself. Designers’ Shakespeare presents and analyses the work of a half-dozen leading practitioners of this specialist art. By focusing specifically on their Shakespearean work, it also offers a fresh, exciting perspective on some of the best-known drama of all time. Shakespeare’s plays offer an unusual range of opportunities to designers. As they were written for a theatre which gave no opportunity for scenic support or embellishment, designers are freed from any compulsion to imitate original practices. This has resulted in the extraordinarily diverse range of works presented in this volume, which considers among others the work of Josef Svoboda, Karl-Ernst Herrmann, Ming Cho Lee, Alison Chitty, Robert Wilson, Societas Raffaello Sanzio, Filter Theatre, Catherine Zuber, John Bury , Christopher Morley, Ralph Koltai and Sean Kenny. Designers’ Shakespeare joins Actors’ Shakespeare and Directors’ Shakespeare as essential reading for lovers of Shakespeare from theatre-goers and students to directors and theatre designers.
Why Shakespeare? What explains our continued fascination with his poems and plays? In Living with Shakespeare, Susannah Carson invites forty actors, directors, scholars, and writers to reflect on why his work is still such a vital part of our culture. We hear from James Earl Jones on reclaiming Othello as a tragic hero, Julie Taymor on turning Prospero into Prospera, Camille Paglia on teaching the plays to actors, F. Murray Abraham on gaining an audience’s sympathy for Shylock, Sir Ben Kingsley on communicating Shakespeare’s ideas through performance, Germaine Greer on the playwright’s home life, Dame Harriet Walter on the complexity of his heroines, Brian Cox on social conflict in his time and ours, Jane Smiley on transposing King Lear to Iowa in A Thousand Acres, and Sir Antony Sher on feeling at home in Shakespeare’s language. Together these essays provide a fresh appreciation of Shakespeare’s works as a living legacy to be read, seen, performed, adapted, revised, wrestled with, and embraced by creative professionals and lay enthusiasts alike. F. Murray Abraham ● Isabel Allende ● Cicely Berry ● Eve Best ● Eleanor Brown ● Stanley Cavell ● Karin Coonrod ● Brian Cox ● Peter David ● Margaret Drabble ● Dominic Dromgoole ● David Farr ● Fiasco Theater ● Ralph Fiennes ● Angus Fletcher ● James Franco ● Alan Gordon ● Germaine Greer ● Barry John ● James Earl Jones ● Sir Ben Kingsley ● Maxine Hong Kingston ● Rory Kinnear ● J. D. McClatchy ● Conor McCreery ● Tobias Menzies ● Joyce Carol Oates ● Camille Paglia ● James Prosek ● Richard Scholar ● Sir Antony Sher ● Jane Smiley ● Matt Sturges ● Julie Taymor ● Eamonn Walker ● Dame Harriet Walter ● Bill Willingham ● Jess Winfield