Ranging from David Garrick's Macbeth in the 1740s to the World Shakespeare Festival in London 2012, this is the first book to provide in-depth analysis of the history and practice of Shakespearean ...theatre reviewing. Reviewing Shakespeare describes the changing priorities and interpretative habits of theatre critics as they have both responded to and provoked innovations in Shakespearean performance culture over the last three centuries. It analyses the conditions – theatrical, journalistic, social and personal – in which Shakespearean reception has taken place, presenting original readings of the works of key critics (Shaw, Beerbohm, Agate, Tynan), whilst also tracking broader historical shifts in the relationship between reviewers and performance. Prescott explores the key function of the 'night-watch constable' in patrolling the boundaries of legitimate Shakespearean performance and offers a compelling account of the many ways in which newspaper reviews are uniquely fruitful documents for anyone interested in Shakespeare and the theatre.
Shakespeare in Yosemite Brokaw, Katherine Steele; Prescott, Paul
Critical survey (Oxford, England),
12/2019, Letnik:
31, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Shakespeare in Yosemite, founded in 2017, consists of an annual outdoor production of Shakespeare in Yosemite National Park on the weekend closest to World Earth Day and Shakespeare’s birthday. The ...productions are site-specific and heavily adapted for a general audience; admission is free. In this article, the co-founders describe the origins and aims of the festival within the contexts of applied theatre, eco-criticism and the American tradition of free outdoor Shakespeare. In describing the festival’s inaugural show – a collage piece that counterpointed Shakespeare’s words with those of early environmentalist John Muir – we make the case for leveraging Shakespeare’s cultural currency to play a part (however small or unknowable) in encouraging environmental awareness and activism.
The literature that scholars have generated about the Holocaust is laden with terms like unthinkable or incomprehensible. If there is to be adequate comprehension of, to say nothing of justice for ...the survivors of evil, the moral and epistemic gap between survivors and bystanders must be overcome. The unfortunate reality, however, is that human beings are vulnerable creatures physically, epistemically, and morally, who live in a world which they are, by and large, unprepared to accept, much less confront.
The opening of the Sam Wanamaker Playhouse at Shakespeare’s Globe in January 2014 cemented the connection between Wanamaker’s name and historically informed, reconstructionist approaches to staging ...Shakespeare and early modern drama. In the two decades since his death in 1993, Wanamaker has been routinely depicted in academic and journalistic accounts as The Man Who Built the Globe, the theater for which he campaigned tirelessly in the last third of his life. Stories about that life tend to begin and end with the Globe project. What is lost in these stories–and what this article seeks to remember and celebrate–is Wanamaker’s earlier career as a stage actor and director, in particular his reputation as the foremost exponent of the Method on the English stage in the 1950s, a decade that climaxed with his appearance at Stratford-upon-Avon in 1959 as Iago to Paul Robeson’s Othello. Drawing on previously unseen archive material, this account of Wanamaker’s preparatory work on Iago reveals a politically engaged and progressive naturalistic actor: one whose intellectual and emotional engagement with the major theorists of twentieth-century performance is at some odds with his current reputation as a preeminent advocate of “Original Practices.” Remembering Wanamaker’s earlier work as an actor and director serves as a salutary reminder that no approach to acting is inherently conservative or revolutionary, and that Stanislavsky’s work in particular has been, and can be again, mobilized to progressive political effect.
The floating terminal of Jakobshavn Isbræ, the fastest Greenland ice stream, has disintegrated since 2002, resulting in a doubling of ice velocity and rapidly lowering inland ice elevations. ...Conditions prior to disintegration were modeled using control theory in a plane-stress solution, and the Missoula model of ice-shelf flow. Both approaches pointed to a mechanism that inhibits ice flow and that is not captured by either approach. Jamming of flow, an inherent property of granular materials passing through a constriction (Jakobshavn Isfjord), is postulated as the mechanism. Rapid disintegration of heavily crevassed floating ice accompanies break-up of the ice jam.
Shakespeare in Yosemite Brokaw, Katherine Steele; Prescott, Paul
Critical survey (Oxford, England),
12/2019, Letnik:
31, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Shakespeare in Yosemite, founded in 2017, consists of an annual outdoor production of Shakespeare in Yosemite National Park on the weekend closest to World Earth Day and Shakespeare’s birthday. The ...productions are site-specific and heavily adapted for a general audience; admission is free. In this article, the co-founders describe the origins and aims of the festival within the contexts of applied theatre, eco-criticism and the American tradition of free outdoor Shakespeare. In describing the festival’s inaugural show – a collage piece that counterpointed Shakespeare’s words with those of early environmentalist John Muir – we make the case for leveraging Shakespeare’s cultural currency to play a part (however small or unknowable) in encouraging environmental awareness and activism.
Troilus and Cressida Prescott, Paul
Shakespeare bulletin,
04/2010, Letnik:
28, Številka:
1
Journal Article
Recenzirano
Paul Stocker's Troilus was stubbornly wooden close-up too.) Jamie Ballard's excellent, unusually young and tenor-voiced Ulysses, for example, was a performance rich in detail: as he surveyed the ...warriors from above, he told Agamemnon of how Troilus, "in the heat of action / Is more vindictive than jealous love"; on "jealous love," Ballard's eye alighted on Diomedes and briefly-if you were close enough-you saw the pleasure of a new scheme flicker across his features. Most strikingly, a large wooden structure dominated the upstage centre; at floor-level, this provided a canopied, tent-like thrust discovery space-whilst, above, it served to extend the balcony almost as far downstage as the columns. The first half of the production rolled along, a symptom of its priorities being the contrast between the stunted, static council scenes and two elaborate innovations. When Dominic Dromgoole-the Globe's Artistic Director-directed this play for the Oxford Stage Company in 1999, he summarized his attempt as a "car crash . . . a charmless, unwieldy play in a charmless unwieldy production" (Will and Me 207).
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