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Beschreibung
The Arden Research Handbook of Shakespeare and Contemporary Performance is a wide-ranging, authoritative guide to research on Shakespeare and performance studies by an international team of leading scholars. It contains chapters on the key methods and questions surrounding the performance event, the audience, and the archive - the primary sources on which performance studies draws. It identifies the recurring trends and fruitful lines of inquiry that are generating the most urgent work in the field, but also contextualises these within the histories and methods on which researchers build.
A central section of research-focused essays offers case studies of present areas of enquiry, from new approaches to space, bodies and language to work on the technologies of remediation and original practices, from consideration of fandoms and the cultural capital invested in Shakespeare and his contemporaries to political and ethical interventions in performance practice. A distinctive feature of the volume is a curated section focusing on practitioners, in which leading directors, writers, actors, producers, and other theatre professionals comment on Shakespeare in performance and what they see as the key areas, challenges and provocations for researchers to explore.
In addition, the Handbook contains various sections that provide non-specialists with practical help: an A-Z of key terms and concepts, a guide to research methods and problems, a chronology of major publications and events, an introduction to resources for study of the field, and a substantial annotated bibliography.
The Arden Research Handbook of Shakespeare and Contemporary Performance is a reference work aimed at advanced undergraduate and graduate students as well as scholars and libraries, a guide to beginning or developing research in the field, and an essential companion for all those interested in Shakespeare and performance.
A central section of research-focused essays offers case studies of present areas of enquiry, from new approaches to space, bodies and language to work on the technologies of remediation and original practices, from consideration of fandoms and the cultural capital invested in Shakespeare and his contemporaries to political and ethical interventions in performance practice. A distinctive feature of the volume is a curated section focusing on practitioners, in which leading directors, writers, actors, producers, and other theatre professionals comment on Shakespeare in performance and what they see as the key areas, challenges and provocations for researchers to explore.
In addition, the Handbook contains various sections that provide non-specialists with practical help: an A-Z of key terms and concepts, a guide to research methods and problems, a chronology of major publications and events, an introduction to resources for study of the field, and a substantial annotated bibliography.
The Arden Research Handbook of Shakespeare and Contemporary Performance is a reference work aimed at advanced undergraduate and graduate students as well as scholars and libraries, a guide to beginning or developing research in the field, and an essential companion for all those interested in Shakespeare and performance.
The Arden Research Handbook of Shakespeare and Contemporary Performance is a wide-ranging, authoritative guide to research on Shakespeare and performance studies by an international team of leading scholars. It contains chapters on the key methods and questions surrounding the performance event, the audience, and the archive - the primary sources on which performance studies draws. It identifies the recurring trends and fruitful lines of inquiry that are generating the most urgent work in the field, but also contextualises these within the histories and methods on which researchers build.
A central section of research-focused essays offers case studies of present areas of enquiry, from new approaches to space, bodies and language to work on the technologies of remediation and original practices, from consideration of fandoms and the cultural capital invested in Shakespeare and his contemporaries to political and ethical interventions in performance practice. A distinctive feature of the volume is a curated section focusing on practitioners, in which leading directors, writers, actors, producers, and other theatre professionals comment on Shakespeare in performance and what they see as the key areas, challenges and provocations for researchers to explore.
In addition, the Handbook contains various sections that provide non-specialists with practical help: an A-Z of key terms and concepts, a guide to research methods and problems, a chronology of major publications and events, an introduction to resources for study of the field, and a substantial annotated bibliography.
The Arden Research Handbook of Shakespeare and Contemporary Performance is a reference work aimed at advanced undergraduate and graduate students as well as scholars and libraries, a guide to beginning or developing research in the field, and an essential companion for all those interested in Shakespeare and performance.
A central section of research-focused essays offers case studies of present areas of enquiry, from new approaches to space, bodies and language to work on the technologies of remediation and original practices, from consideration of fandoms and the cultural capital invested in Shakespeare and his contemporaries to political and ethical interventions in performance practice. A distinctive feature of the volume is a curated section focusing on practitioners, in which leading directors, writers, actors, producers, and other theatre professionals comment on Shakespeare in performance and what they see as the key areas, challenges and provocations for researchers to explore.
In addition, the Handbook contains various sections that provide non-specialists with practical help: an A-Z of key terms and concepts, a guide to research methods and problems, a chronology of major publications and events, an introduction to resources for study of the field, and a substantial annotated bibliography.
The Arden Research Handbook of Shakespeare and Contemporary Performance is a reference work aimed at advanced undergraduate and graduate students as well as scholars and libraries, a guide to beginning or developing research in the field, and an essential companion for all those interested in Shakespeare and performance.
Über den Autor
Peter Kirwan is Associate Professor of Early Modern Drama at the University of Nottingham, UK. His books include Shakespeare and the Idea of Apocrypha (2015) and the co-edited collections Shakespeare and the Digital World (with Christie Carson, 2014) and Canonising Shakespeare: Stationers and the Book Trade, 1640-1740 (with Emma Depledge, 2017). He is Performance Reviews Editor for Shakespeare Bulletin, Book Reviews Editor for Early Theatre and Editions Reviewer for Shakespeare Survey.
Kathryn Prince is Vice Dean of the Faculty of Arts and Associate Professor of Theatre at the University of Ottawa, Canada, as well as the General Editor of Shakespeare Bulletin. Her recent books include Performing Early Modern Drama Today (with Pascale Aebischer, 2012), History, Memory, Performance (with David Dean and Yana Meerzon, 2014), and Shakespeare and Canada: Remembrance of Ourselves (with Irena Makaryk, 2016).
Kathryn Prince is Vice Dean of the Faculty of Arts and Associate Professor of Theatre at the University of Ottawa, Canada, as well as the General Editor of Shakespeare Bulletin. Her recent books include Performing Early Modern Drama Today (with Pascale Aebischer, 2012), History, Memory, Performance (with David Dean and Yana Meerzon, 2014), and Shakespeare and Canada: Remembrance of Ourselves (with Irena Makaryk, 2016).
Zusammenfassung
Offers an indispensable introduction and guide to the key debates, areas of research and emerging trends within this broad field with examples of current research by international scholars
Inhaltsverzeichnis
List of Illustrations
Notes on Contributors
Series Preface
Acknowledgements
Introduction
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Part 1: Research Methods and Problems
1.1 The Archive: Show Reporting Shakespeare
Rob Conkie (La Trobe University in Melbourne, Australia)
1.2 The Audience: Receiving and Remaking Experience
Margaret Jane Kidnie (University of Western Ontario, Canada)
1.3 The Event: Festival Shakespeare
Paul Prescott (University of Warwick, UK)Part 2: Current Research and Issues
2.1 Original Practices: Old Ways and New Directions
Sarah Dustagheer (University of Kent, UK)
2.2 Space: Locus and Platea in Modern Shakespearean Performance
Stephen Purcell (University of Warwick, UK)
2.3 Economics: Shakespeare Performing Cities
Susan Bennett (University of Calgary, Canada)
2.4 Networks: Researching Global Shakespeare
Sonia Massai (King's College London, UK)
2.5 Global Mediations: Performing Shakespeare in the Age of Global and Digital Cultures
Alexa Alice Joubin (George Washington University, USA)
2.6 Canon: Framing Not-Shakespeare Performance
Eoin Price (Swansea University, UK)
2.7 Pedagogy: Decolonizing Shakespeare on Stage
Andrew James Hartley (UNC Charlotte, USA), Kaja Dunn (UNC Charlotte, USA) and Christopher Berry (Black Theatre Network & Black Arts Institute)
2.8 Ethics: Practising Diversity at the Stratford Festival of Canada: Shakespeare, Performance and Ethics in the Twenty-First Century
Erin Julian (University of Roehampton London/King's College London, UK) and Kim Solga (Western University, Canada)
2.9 Bodies: Gender, Race, Ability and the Shakespearean Stage
Roberta Barker (Dalhousie University, Canada)
2.10 Technology: The Desire Called Cinema: Materiality, Biopolitics, and Post-Anthropocentric Feminism in Julie Taymor's The Tempest Courtney Lehmann (University of the Pacific, USA)Part 3: New Directions in Shakespeare and PerformanceCurated by C. K. Ash (Independent researcher) and Nora J. Williams (University of Essex, UK)
3.1 Anne G. Morgan
3.2 Jatinder Verma
3.3 Judith Greenwood
3.4 Dan Bray and Colleen MacIsaac
3.5 Migdalia Cruz
3.6 Lisa Wolpe
3.7 Julia Nish-Lapidus and James Wallis
3.8 Ravi Jain
3.9 Emma Whipday
3.10 Wole Oguntokun
3.11 Vishal Bhardwaj
3.12 Adam Cunis
3.13 James Loehlin
3.14 Denice Hicks
3.15 [...]
3.16 Jung-ung Yang
Part 4: Resources for Researchers
4.1 A Fifty-Year History of Performance Criticism
James C. Bulman (Allegheny College, USA)
4.2 A-Z of Key Terms
Bríd Phillips (University of Western Australia, Australia), with Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.3 Annotated Bibliography
Karin Brown (University of Birmingham, UK), Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.4 Resources
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Index
Notes on Contributors
Series Preface
Acknowledgements
Introduction
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Part 1: Research Methods and Problems
1.1 The Archive: Show Reporting Shakespeare
Rob Conkie (La Trobe University in Melbourne, Australia)
1.2 The Audience: Receiving and Remaking Experience
Margaret Jane Kidnie (University of Western Ontario, Canada)
1.3 The Event: Festival Shakespeare
Paul Prescott (University of Warwick, UK)Part 2: Current Research and Issues
2.1 Original Practices: Old Ways and New Directions
Sarah Dustagheer (University of Kent, UK)
2.2 Space: Locus and Platea in Modern Shakespearean Performance
Stephen Purcell (University of Warwick, UK)
2.3 Economics: Shakespeare Performing Cities
Susan Bennett (University of Calgary, Canada)
2.4 Networks: Researching Global Shakespeare
Sonia Massai (King's College London, UK)
2.5 Global Mediations: Performing Shakespeare in the Age of Global and Digital Cultures
Alexa Alice Joubin (George Washington University, USA)
2.6 Canon: Framing Not-Shakespeare Performance
Eoin Price (Swansea University, UK)
2.7 Pedagogy: Decolonizing Shakespeare on Stage
Andrew James Hartley (UNC Charlotte, USA), Kaja Dunn (UNC Charlotte, USA) and Christopher Berry (Black Theatre Network & Black Arts Institute)
2.8 Ethics: Practising Diversity at the Stratford Festival of Canada: Shakespeare, Performance and Ethics in the Twenty-First Century
Erin Julian (University of Roehampton London/King's College London, UK) and Kim Solga (Western University, Canada)
2.9 Bodies: Gender, Race, Ability and the Shakespearean Stage
Roberta Barker (Dalhousie University, Canada)
2.10 Technology: The Desire Called Cinema: Materiality, Biopolitics, and Post-Anthropocentric Feminism in Julie Taymor's The Tempest Courtney Lehmann (University of the Pacific, USA)Part 3: New Directions in Shakespeare and PerformanceCurated by C. K. Ash (Independent researcher) and Nora J. Williams (University of Essex, UK)
3.1 Anne G. Morgan
3.2 Jatinder Verma
3.3 Judith Greenwood
3.4 Dan Bray and Colleen MacIsaac
3.5 Migdalia Cruz
3.6 Lisa Wolpe
3.7 Julia Nish-Lapidus and James Wallis
3.8 Ravi Jain
3.9 Emma Whipday
3.10 Wole Oguntokun
3.11 Vishal Bhardwaj
3.12 Adam Cunis
3.13 James Loehlin
3.14 Denice Hicks
3.15 [...]
3.16 Jung-ung Yang
Part 4: Resources for Researchers
4.1 A Fifty-Year History of Performance Criticism
James C. Bulman (Allegheny College, USA)
4.2 A-Z of Key Terms
Bríd Phillips (University of Western Australia, Australia), with Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.3 Annotated Bibliography
Karin Brown (University of Birmingham, UK), Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.4 Resources
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Index
Details
| Erscheinungsjahr: | 2023 |
|---|---|
| Rubrik: | Literaturwissenschaft |
| Medium: | Taschenbuch |
| Seiten: | 416 |
| Inhalt: | Kartoniert / Broschiert |
| ISBN-13: | 9781350225169 |
| ISBN-10: | 1350225169 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Redaktion: |
Kirwan, Peter
Prince, Kathryn |
| Hersteller: | Bloomsbury Academic |
| Maße: | 231 x 155 x 25 mm |
| Von/Mit: | Peter Kirwan (u. a.) |
| Erscheinungsdatum: | 09.02.2023 |
| Gewicht: | 0,703 kg |
Über den Autor
Peter Kirwan is Associate Professor of Early Modern Drama at the University of Nottingham, UK. His books include Shakespeare and the Idea of Apocrypha (2015) and the co-edited collections Shakespeare and the Digital World (with Christie Carson, 2014) and Canonising Shakespeare: Stationers and the Book Trade, 1640-1740 (with Emma Depledge, 2017). He is Performance Reviews Editor for Shakespeare Bulletin, Book Reviews Editor for Early Theatre and Editions Reviewer for Shakespeare Survey.
Kathryn Prince is Vice Dean of the Faculty of Arts and Associate Professor of Theatre at the University of Ottawa, Canada, as well as the General Editor of Shakespeare Bulletin. Her recent books include Performing Early Modern Drama Today (with Pascale Aebischer, 2012), History, Memory, Performance (with David Dean and Yana Meerzon, 2014), and Shakespeare and Canada: Remembrance of Ourselves (with Irena Makaryk, 2016).
Kathryn Prince is Vice Dean of the Faculty of Arts and Associate Professor of Theatre at the University of Ottawa, Canada, as well as the General Editor of Shakespeare Bulletin. Her recent books include Performing Early Modern Drama Today (with Pascale Aebischer, 2012), History, Memory, Performance (with David Dean and Yana Meerzon, 2014), and Shakespeare and Canada: Remembrance of Ourselves (with Irena Makaryk, 2016).
Zusammenfassung
Offers an indispensable introduction and guide to the key debates, areas of research and emerging trends within this broad field with examples of current research by international scholars
Inhaltsverzeichnis
List of Illustrations
Notes on Contributors
Series Preface
Acknowledgements
Introduction
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Part 1: Research Methods and Problems
1.1 The Archive: Show Reporting Shakespeare
Rob Conkie (La Trobe University in Melbourne, Australia)
1.2 The Audience: Receiving and Remaking Experience
Margaret Jane Kidnie (University of Western Ontario, Canada)
1.3 The Event: Festival Shakespeare
Paul Prescott (University of Warwick, UK)Part 2: Current Research and Issues
2.1 Original Practices: Old Ways and New Directions
Sarah Dustagheer (University of Kent, UK)
2.2 Space: Locus and Platea in Modern Shakespearean Performance
Stephen Purcell (University of Warwick, UK)
2.3 Economics: Shakespeare Performing Cities
Susan Bennett (University of Calgary, Canada)
2.4 Networks: Researching Global Shakespeare
Sonia Massai (King's College London, UK)
2.5 Global Mediations: Performing Shakespeare in the Age of Global and Digital Cultures
Alexa Alice Joubin (George Washington University, USA)
2.6 Canon: Framing Not-Shakespeare Performance
Eoin Price (Swansea University, UK)
2.7 Pedagogy: Decolonizing Shakespeare on Stage
Andrew James Hartley (UNC Charlotte, USA), Kaja Dunn (UNC Charlotte, USA) and Christopher Berry (Black Theatre Network & Black Arts Institute)
2.8 Ethics: Practising Diversity at the Stratford Festival of Canada: Shakespeare, Performance and Ethics in the Twenty-First Century
Erin Julian (University of Roehampton London/King's College London, UK) and Kim Solga (Western University, Canada)
2.9 Bodies: Gender, Race, Ability and the Shakespearean Stage
Roberta Barker (Dalhousie University, Canada)
2.10 Technology: The Desire Called Cinema: Materiality, Biopolitics, and Post-Anthropocentric Feminism in Julie Taymor's The Tempest Courtney Lehmann (University of the Pacific, USA)Part 3: New Directions in Shakespeare and PerformanceCurated by C. K. Ash (Independent researcher) and Nora J. Williams (University of Essex, UK)
3.1 Anne G. Morgan
3.2 Jatinder Verma
3.3 Judith Greenwood
3.4 Dan Bray and Colleen MacIsaac
3.5 Migdalia Cruz
3.6 Lisa Wolpe
3.7 Julia Nish-Lapidus and James Wallis
3.8 Ravi Jain
3.9 Emma Whipday
3.10 Wole Oguntokun
3.11 Vishal Bhardwaj
3.12 Adam Cunis
3.13 James Loehlin
3.14 Denice Hicks
3.15 [...]
3.16 Jung-ung Yang
Part 4: Resources for Researchers
4.1 A Fifty-Year History of Performance Criticism
James C. Bulman (Allegheny College, USA)
4.2 A-Z of Key Terms
Bríd Phillips (University of Western Australia, Australia), with Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.3 Annotated Bibliography
Karin Brown (University of Birmingham, UK), Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.4 Resources
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Index
Notes on Contributors
Series Preface
Acknowledgements
Introduction
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Part 1: Research Methods and Problems
1.1 The Archive: Show Reporting Shakespeare
Rob Conkie (La Trobe University in Melbourne, Australia)
1.2 The Audience: Receiving and Remaking Experience
Margaret Jane Kidnie (University of Western Ontario, Canada)
1.3 The Event: Festival Shakespeare
Paul Prescott (University of Warwick, UK)Part 2: Current Research and Issues
2.1 Original Practices: Old Ways and New Directions
Sarah Dustagheer (University of Kent, UK)
2.2 Space: Locus and Platea in Modern Shakespearean Performance
Stephen Purcell (University of Warwick, UK)
2.3 Economics: Shakespeare Performing Cities
Susan Bennett (University of Calgary, Canada)
2.4 Networks: Researching Global Shakespeare
Sonia Massai (King's College London, UK)
2.5 Global Mediations: Performing Shakespeare in the Age of Global and Digital Cultures
Alexa Alice Joubin (George Washington University, USA)
2.6 Canon: Framing Not-Shakespeare Performance
Eoin Price (Swansea University, UK)
2.7 Pedagogy: Decolonizing Shakespeare on Stage
Andrew James Hartley (UNC Charlotte, USA), Kaja Dunn (UNC Charlotte, USA) and Christopher Berry (Black Theatre Network & Black Arts Institute)
2.8 Ethics: Practising Diversity at the Stratford Festival of Canada: Shakespeare, Performance and Ethics in the Twenty-First Century
Erin Julian (University of Roehampton London/King's College London, UK) and Kim Solga (Western University, Canada)
2.9 Bodies: Gender, Race, Ability and the Shakespearean Stage
Roberta Barker (Dalhousie University, Canada)
2.10 Technology: The Desire Called Cinema: Materiality, Biopolitics, and Post-Anthropocentric Feminism in Julie Taymor's The Tempest Courtney Lehmann (University of the Pacific, USA)Part 3: New Directions in Shakespeare and PerformanceCurated by C. K. Ash (Independent researcher) and Nora J. Williams (University of Essex, UK)
3.1 Anne G. Morgan
3.2 Jatinder Verma
3.3 Judith Greenwood
3.4 Dan Bray and Colleen MacIsaac
3.5 Migdalia Cruz
3.6 Lisa Wolpe
3.7 Julia Nish-Lapidus and James Wallis
3.8 Ravi Jain
3.9 Emma Whipday
3.10 Wole Oguntokun
3.11 Vishal Bhardwaj
3.12 Adam Cunis
3.13 James Loehlin
3.14 Denice Hicks
3.15 [...]
3.16 Jung-ung Yang
Part 4: Resources for Researchers
4.1 A Fifty-Year History of Performance Criticism
James C. Bulman (Allegheny College, USA)
4.2 A-Z of Key Terms
Bríd Phillips (University of Western Australia, Australia), with Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.3 Annotated Bibliography
Karin Brown (University of Birmingham, UK), Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.4 Resources
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)Index
Details
| Erscheinungsjahr: | 2023 |
|---|---|
| Rubrik: | Literaturwissenschaft |
| Medium: | Taschenbuch |
| Seiten: | 416 |
| Inhalt: | Kartoniert / Broschiert |
| ISBN-13: | 9781350225169 |
| ISBN-10: | 1350225169 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Redaktion: |
Kirwan, Peter
Prince, Kathryn |
| Hersteller: | Bloomsbury Academic |
| Maße: | 231 x 155 x 25 mm |
| Von/Mit: | Peter Kirwan (u. a.) |
| Erscheinungsdatum: | 09.02.2023 |
| Gewicht: | 0,703 kg |
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