For most of the twentieth century the exuberant fluency of Elizabeth Barrett Browning’s art was not regarded as worthy of serious attention. Even the evidence for the swiftness of her wit, thought ...and composition remains more impressionistic and anecdotal than firmly proven. Through close attention to original manuscript material, Josie Billington argues that Barrett Browning’s fast, fine and excitedly vigorous and agile imaginative intelligence is Shakespearean, both in its power, and in the creative drive and dynamic to which it gives rise. Billington contends that for Barrett Browning, as for Shakespeare, writing was demonstrably a creative event not a second-order record of experience, and that Barrett Browning’s characteristic habits of composition, and her creative procedure, resemble in significant ways those of the poet she valued most highly. A fascinating study of both writers’ analogous creative dispositions, minds and modes.
Recent work in Shakespeare studies has brought to the forefront a variety of ways in which the collaborative nature of Shakespearean drama can be investigated: collaborative performance (Shakespeare ...and his fellow actors); collaborative writing (Shakespeare and his co-authors); collaborative textual production (Shakespeare and his transcribers and printers). What this leaves unaccounted for is the form of collaboration that affects more than any other our modern reading experience of Shakespeare's plays: what we read as Shakespeare now always comes to us in the form of a collaborative enterprise - and is decisively shaped by the nature of the collaboration - between Shakespeare and his modern editors. Contrary to much recent criticism, this book suggests that modern textual mediators have a positive rather than negative role: they are not simply 'pimps of discourse' or cultural tyrants whose oppressive interventions we need to 'unedit' but collaborators who can decisively shape and enable our response to Shakespeare's plays. Erne argues that any reader of Shakespeare, scholar, student, or general reader, approaches Shakespeare through modern editions that have an endlessly complicated and fascinating relationship to what Shakespeare may actually have intended and written, that modern editors determine what that relationship is, and that it is generally a very good thing that they do so.
Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and ...internationally. In this volume, leading scholars assess the contribution of Alexander Pope, John Dryden, Samuel Johnson and Edmond Malone to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject’s intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.
Great halls and hovels, dove-houses and sheepcotes, mountain cells and seaside shelters—these are some of the spaces in which Shakespearean characters gather to dwell, and to test their connections ...with one another and their worlds. Julia Reinhard Lupton enters Shakespeare's dwelling places in search of insights into the most fundamental human problems.Focusing on five works ( Romeo and Juliet, Macbeth, Pericles, Cymbeline, and The Winter's Tale ), Lupton remakes the concept of dwelling by drawing on a variety of sources, including modern design theory, Renaissance treatises on husbandry and housekeeping, and the philosophies of Hannah Arendt and Martin Heidegger. The resulting synthesis not only offers a new entry point into the contemporary study of environments; it also shows how Shakespeare's works help us continue to make sense of our primal creaturely need for shelter.
Harris and Srinivasan discuss coloniality and British contemporary Shakespeare performance practice. Soft power is a fitting term to describe how the British government and intelligentsia continue to ...use Shakespeare as part of a civilizing mission long after its direct colonization of land ended. Shakespeare's canonicity makes his work inherently imperialist, and decolonizing Shakespeare then requires an actively anticolonial practice. What people might consider to be universal within Shakespeare is in fact just what they default to whiteness, maleness, the superiority of the English language and of England, and more. They have identified three concurrent problems with the current UK Shakespearean performance practice that keep it firmly colonial by feeding into ideas of monolingualism, establishmentarianism, and capitalism.
The other significant goal for this book follows on from his previous work: to decentralize the role of dramatic text in performance, and to understand all theatrical components from props to ...costumes to acting and movement as co-sources of theatrical meaning and signification. ...he sets up technicity as the frame through which he examines theatre and technology throughout the book: technicity encompasses representing technologies such as props, technologies that make the performance possible such as electric light and sound, and the architecture, texts, and the bodies of performers, and how these components necessarily and fluidly work together. ...Worthen argues that app design reinforces the practice and business of acting as a standardized form of mediating character through the technology of memorization and recitation.
By making fresh connections among intersecting categories of Shakespearean performance, publicity, and reception, Kinsley’s study reassesses what it meant to produce, perform, and enjoy Shakespeare ...in the United States at the turn of the twentieth century, and the implications of this material for how we understand key questions of nationality, ethnicity, and race during this period. By laying Black and blackface performances alongside those of immigrants performing Shakespeare in their native tongues, Kinsley develops the argument that the notion of race, no less than the meaning of performing Shakespeare or being American, was by no means fixed. Drawing on Diana Taylor’s contrast between repertoire and archive, Kinsley challenges us to concern ourselves less with the fixed data points that archival sources help us to establish and more with the larger canvas of connections we can make between this set of Shakespearean performances and the social forces that shaped them and were in turn shaped by them.
Index to Volume 75
Theatre journal (Washington, D.C.),
12/2023, Letnik:
75, Številka:
4
Journal Article
Recenzirano
A Museum of Human Hunting: Thomas Bellinck’s Speculative Documentary. 277–299. Power and Theory: Structural Racism and Zones of Sanctioned Ignorance. 519–532. Stratford Festival, Ontario. 228–230 ...BOOK REVIEW INDEX Ball, James R. III. Death’s Futurity: The Visual Life of Black Power.
O objetivo deste artigo é apresentar uma proposta de atividade para o trabalho com o conteúdo e forma no 9.º ano do Ensino Fundamental. Para isso, elegemos a obra literária Hamlet (2011), de William ...Shakespeare e o filme Hamlet (1990), de Franco Zeffirelli, a fim de promover a leitura dos alunos, explorar as visões de mundo presentes nas obras e analisar se a mudança na forma, implica também na transformação do conteúdo. Como fundamentos teóricos, pautamo-nos na perspectiva do Materialismo Histórico-Dialético. Logo, a partir da análise, percebemos a relevância de trabalhar com as categorias marxistas na sala de aula visando melhorar a compreensão de obras literárias clássicas.
