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This collection by leading Shakespeare scholars, first published in 2006, brings together memory and performance.
Wilder examines the excessive remembering of figures such as Romeo, Falstaff, and Hamlet as a way of defining Shakespeare's theatricality.
The Routledge Handbook of Shakespeare and Memory introduces this vibrant field of study to students and scholars, whilst defining and extending critical debates in the area. Mapping memory in key areas of Shakespeare studies, the volume then goes on to look at the role of memory in individual plays.
Hamlet's father's Ghost asks his son to 'Remember me!', but how did people remember around 1600? And how do we remember now? Shakespeare and Memory brings together classical and early modern sources, theatre history, performance, material culture, and cognitive psychology and neuroscience in order to explore ideas about memory in Shakespeare's plays and poems. It argues that, when Shakespeare was writing, ideas about memory were undergoing a kind of crisis, as both the technologies of memory (print, the theatre itself) and the belief structures underpinning ideas about memory underwent rapid change. And it suggests that this crisis might be mirrored in our own time, when, despite all the increasing gadgetry at our disposal, memory can still be recovered, falsified, corrupted, or wiped: only we ourselves can remember, but the workings of memory remain mysterious. Shakespeare and Memory draws on works from all stages of Shakespeare's career, with a particular focus on Hamlet, the Sonnets, Twelfth Night, and The Winter's Tale. It considers some little things: what's Hamlet writing on? And why does Orsino think he smells violets? And it asks some big questions: how should the dead be remembered? What's the relationship between memory and identity? And is it art, above all, that enables love and beauty, memory and identity, to endure in the face of loss, time, and death?
Using the tools of theatre history in their investigation into the phenomenology of the performance experience, the essays here also consider the social, ideological and institutional contingencies that determine the production and reception of the living spectacle. The contributors strive to bring better understanding to Shakespeare's imaginative investment in the relationship between theatrical production and the emotional, intellectual and cultural effects of performance broadly defined in social terms.
As readers head into the second fifty years of the modern critical study of blackness and black characters in Renaissance drama, it has become a critical commonplace to note black female characters’ almost complete absence from Shakespeare’s plays. Despite this physical absence, however, they still play central symbolic roles in articulating definitions of love, beauty, chastity, femininity, and civic and social standing, invoked as the opposite and foil of women who are “fair”. Beginning from this recognition of black women’s simultaneous physical absence and imaginative presence, this book argues that modern Shakespearean adaptation is a primary means for materializing black women’s often elusive presence in the plays, serving as a vital staging place for historical and political inquiry into racial formation in Shakespeare’s world, and our own. Ranging geographically across North America and the Caribbean, and including film and fiction as well as drama as it discusses remade versions of Othello, Romeo and Juliet, Antony and Cleopatra, and The Taming of the Shrew, Shakespearean Adaptation, Race, and Memory in the New World will attract scholars of early modern race studies, gender and performance, and women in Renaissance drama.
A distinguishing feature of Shakespeare’s later histories is the prominent role he assigns to the need to forget. This book explore the ways in which Shakespeare expanded the role of forgetting in histories from King John to Henry V, as England contended with what were perceived to be traumatic breaks in its history and in the fashioning of a sense of nationhood. For plays ostensibly designed to recover the past and make it available to the present, they devote remarkable attention to the ways in which states and individuals alike passively neglect or actively suppress the past and rewrite history. Two broad and related historical developments caused remembering and forgetting to occupy increasingly prominent and equivocal positions in Shakespeare’s history plays: an emergent nationalism and the Protestant Reformation. A growth in England’s sense of national identity, constructed largely in opposition to international Catholicism, caused historical memory to appear a threat as well as a support to the sense of unity. The Reformation caused many Elizabethans to experience a rupture between their present and their Catholic past, a condition that is reflected repeatedly in the history plays, where the desire to forget becomes implicated with traumatic loss. Both of these historical shifts resulted in considerable fluidity and uncertainty in the values attached to historical memory and forgetting. Shakespeare’s histories, in short, become increasingly equivocal about the value of their own acts of recovery and recollection.
Shakespeare’s works occupy a prismatic and complex position in world culture: they straddle both the high and the low, the national and the foreign, literature and theatre. The Second World War presents a fascinating case study of this phenomenon: most, if not all, of its combatants have laid claim to Shakespeare and have called upon his work to convey their society’s self-image. In wartime, such claims frequently brought to the fore a crisis of cultural identity and of competing ownership of this ‘universal’ author. Despite this, the role of Shakespeare during the Second World War has not yet been examined or documented in any depth. Shakespeare and the Second World War provides the first sustained international, collaborative incursion into this terrain. The essays demonstrate how the wide variety of ways in which Shakespeare has been recycled, reviewed, and reinterpreted from 1939–1945 are both illuminated by and continue to illuminate the War today.
History, Memory, Performance is an interdisciplinary collection of essays exploring performances of the past in a wide range of trans-national and historical contexts. At its core are contributions from theatre scholars and public historians discussing how historical meaning is shaped through performance.
The Routledge Handbook of Shakespeare and Memory introduces this vibrant field of study to students and scholars, whilst defining and extending critical debates in the area. The book begins with a series of "Critical Introductions" offering an overview of memory in particular areas of Shakespeare such as theatre, print culture, visual arts, post-colonial adaptation and new media. These essays both introduce the topic but also explore specific areas such as the way in which Shakespeare’s representation in the visual arts created a national and then a global poet. The entries then develop into more specific studies of the genre of Shakespeare, with sections on Tragedy, History, Comedy and Poetry, which include insightful readings of specific key plays. The book ends with a state of the art review of the area, charting major contributions to the debate, and illuminating areas for further study. The international range of contributors explore the nature of memory in religious, political, emotional and economic terms which are not only relevant to Shakespearean times, but to the way we think and read now.