Element contents
About Shakespeare
Bodies, Spaces and Texts
Published online by Cambridge University Press: 09 September 2020
Summary
This Element addresses the question of what Shakespeare in contemporary performance is about, and whether it really is, as it may claim to be, about Shakespeare. Far from charting a smooth journey from page to stage, the work of making Shakespeare into performances often involves deflection, evasion and circumnavigation. Drawing upon the work of the Royal Shakespeare Company, Shakespeare's Globe and the Schaubühne Berlin, About Shakespeare examines theatrical bodies, the spaces inhabited by actors and audiences, and the texts that circulate around and between them.
Information
- Type
- Element
- Information
- Online ISBN: 9781108643375Publisher: Cambridge University PressPrint publication: 01 October 2020
Bibliography
Aebischer, Pascale. Shakespeare’s Violated Bodies: Stage and Screen Performance (Cambridge: Cambridge University Press, 2004).Google Scholar
Barrit, Desmond. ‘Falstaff’, in Players of Shakespeare 6, ed. Smallwood, Robert (Cambridge: Cambridge University Press, 2004), 128–44.Google Scholar
Baudrillard, Jean. Seduction, trans. Brian Singer (Basingstoke: Palgrave Macmillan, 1990).Google Scholar
Bell, David and Valentine, Gill. Consuming Geographies: We Are What We Eat (New York: Routledge, 1997).Google Scholar
Bernieri, Frank J., Reznick, Steven and Rosenthal, Robert. ‘Synchrony, Pseudosynchrony, and Dissynchrony: Measuring the Entrainment Process’, Journal of Personality and Social Psychology, 54 (1988), 243–54.Google Scholar
Betz, Mark. Beyond the Subtitle: Remapping European Art Cinema (Minneapolis: University of Minnesota Press, 2009).Google Scholar
Boenisch, Peter M. and Ostermeier, Thomas. The Theatre of Thomas Ostermeier (London and New York: Routledge, 2016).Google Scholar
Bulman, James C. ‘Introduction’, in The Oxford Handbook of Shakespeare and Performance (Oxford: Oxford University Press, 2017), 1–9.Google Scholar
Burnett, John. Plenty and Want: A Social History of Food in England from 1815 to the Present Day, 3rd ed. (London: Routledge, 2013).CrossRefGoogle Scholar
Butler, Judith. Bodies That Matter: On the Discursive Limits of ‘Sex’ (New York and London: Routledge, 1993).Google Scholar
Callow, Simon. Actors on Shakespeare: Henry IV, Part 1 (London: Faber and Faber, 2002).Google Scholar
Carson, Christie and Karim-Cooper, Farah, eds. Shakespeare’s Globe: A Theatrical Experiment (Cambridge: Cambridge University Press, 2008).Google Scholar
Coleridge, Samuel. ‘Table Talk’, in Coleridge on Shakespeare, ed. Hawkes, Terence (Harmondsworth: Penguin, 1959), 158.Google Scholar
Conkie, Rob. The Globe Theatre Project: Shakespeare and Authenticity (Lewiston: Edwin Mellen Press, 2006).Google Scholar
Csikszentmihalyi, Mihaly. Flow: The Psychology of Optimal Experience (New York: Harper Collins, 2008).Google Scholar
Dobson, Michael. ‘Falstaff after John Bull: Shakespearean History, Britishness, and the Former United Kingdom’, Shakespeare Jahrbuch, 136 (2000), 40–55.Google Scholar
Forth, Christopher E. and Carden-Coyle, Ana, eds. Cultures of the Abdomen: Diet, Digestion, and Fat in the Modern World (New York: Palgrave Macmillan, 2005).Google Scholar
Gaiba, Francesca. The Origins of Simultaneous Translation: The Nuremberg Trial (Ottawa: University of Ottawa Press, 1998).Google Scholar
Gottlieb, Henrik. ‘Subtitling’, in The Routledge Encyclopedia of Translation Studies, ed. Baker, Mona (London: Routledge, 1998).Google Scholar
Gurr, Andrew. ‘Foreword’, in Shakespeare’s Globe: A Theatrical Experiment, ed. Carson, Christie and Karim-Cooper, Farah (Cambridge: Cambridge University Press, 2008), xvii–xx.Google Scholar
Hatfield, Elaine, Cacioppo, John T. and Rapson, Richard. Emotional Contagion (Cambridge: Cambridge University Press, 1994), 23.Google Scholar
Hazlitt, William. Lectures on the Literature of the Age of Elizabeth and Characters of Shakespeare’s Plays (London: George Bell and Sons, 1900).Google Scholar
Hodgdon, Barbara. ‘Introduction: A Kind of History’, in A Companion to Shakespeare and Performance, ed. Hodgdon, Barbara and Worthen, W. B. (Oxford: Blackwell, 2005), 1–9.Google Scholar
Hodgdon, Barbara‘Shakespearean Stars: Stagings of Desire’, in The Cambridge Companion to Shakespeare and Popular Culture, ed. Shaughnessy, Robert (Cambridge: Cambridge University Press, 2007), 46–66.Google Scholar
Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity (Cambridge: Cambridge University Press, 2009).Google Scholar
Kesebir, Selin. ‘The Superorganism Account of Human Sociality: How and When Human Groups Are Like Beehives’, Personality and Social Psychology Review, 16 (2012), 233–61.Google Scholar
Kiernan, Pauline. Staging Shakespeare at the New Globe (Basingstoke: Palgrave Macmillan, 1999).Google Scholar
Lakens, Daniël. ‘Movement Synchrony and Perceived Entiativity’, Journal of Experimental Social Psychology, 46 (2010), 710–18.Google Scholar
Lury, Celia. Prosthetic Culture: Photography, Memory, and Identity (London and New York: Routledge, 1998).Google Scholar
Mancewicz, Aneta. Intermedial Shakespeares on European Stages (Basingstoke: Palgrave Macmillan, 2014).Google Scholar
McDougall, William. A Introduction to Social Psychology, 23rd ed. (London: Methuen, 1936).Google Scholar
McMillin, Scott. Shakespeare in Performance: Henry IV, Part One (Manchester: Manchester University Press, 1991).Google Scholar
McMullan, Gordon. ‘Afterword’, in Shakespeare’s Globe: A Theatrical Experiment, ed. Christie Carson and Farah Karim-Cooper (Cambridge: Cambridge University Press, 200), 230–33.Google Scholar
McNeill, William H. Keeping Together in Time: Dance and Drill in Human History (Cambridge, MA: Harvard University Press, 1995).Google Scholar
Merlin, Bella. With the Rogue’s Company: Henry IV at the National Theatre (London: Oberon, 2005).Google Scholar
Newtson, Darren. ‘The Dynamics of Action and Interaction’, in A Dynamic Systems Approach to Development Applications, ed. Smith, Linda B and Thelen, Esther (Cambridge, MA: MIT Press, 1993), 241–64.Google Scholar
Parker, Patricia. Literary Fat Ladies: Gender, Rhetoric, Property (London: Routledge, 1987).Google Scholar
Prescott, Paul. ‘Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing’, in A Companion to Shakespeare and Performance, ed. Hodgdon, Barbara and Worthen, W. B (Oxford: Blackwell, 2005), 359–75.Google Scholar
Schechner, Richard. ‘A New Paradigm for Theatre in the Academy’, TDR: The Drama Review, 36 (1992), 7–10.Google Scholar
Schechner, Richard Performance Studies: An Introduction (London and New York: Routledge, 2002).Google Scholar
Schmidt, R. C., Morr, Samantha, Fitzpatrick, Paula and Richardson, Michael J.. ‘Measuring the Dynamics of Interactional Synchrony’, Journal of Nonverbal Behaviour, 26 (2012), 263–79.Google Scholar
Shaughnessy, Robert.‘Falstaff’s Belly: Pathos, Prosthetics and Performance’, in Shakespeare Survey 63, ed. Holland, Peter (Cambridge University Press 2010).Google Scholar
Shaughnessy, Robert.‘“I Do, I Will”: Hal, Falstaff and the Performative’, in Alternative Shakespeares 3, ed. Henderson, Diana E. (London: Routledge, 2008), 14–33.Google Scholar
Sher, Antony. Year of the Fat Knight: The Falstaff Diaries (London: Nick Hern Books, 2015).Google Scholar
Shohat, Ella and Stam, Robert. ‘The Cinema after Babel: Language, Difference, Power’, Screen, 26 (1985): 35–58.Google Scholar
Skanze, P. A. Itinerant Spectator/Itinerant Spectacle (London: Punctum, 2013).CrossRefGoogle Scholar
Smith, Bruce R. The Acoustic World of Early Modern England: Attending to the O-Factor (Chicago: University of Chicago Press, 1999).Google Scholar
Strogatz, Steven. Sync: The Emerging Science of Spontaneous Order (Harmondsworth: Penguin, 2003).Google Scholar
Thomson, Peter. ‘The Comic Actor and Shakespeare’, in The Cambridge Companion to Shakespeare on Stage, ed. Wells, Stanley and Stanton, Sarah (Cambridge: Cambridge University Press, 2002), 137–54.Google Scholar
Traub, Valerie. ‘Prince Hal’s Falstaff: Positioning Psychoanalysis and the Female Reproductive Body’, Shakespeare Quarterly, 40 (1989), 456–74.CrossRefGoogle Scholar
Trewin, J. C. Shakespeare on the English Stage, 1900–1964 (London: Barrie and Jenkins, 1964).Google Scholar
Tynan, Kenneth. He That Plays the King: A View of the Theatre (London: Longman’s, Green and Company, 1950).Google Scholar
Venuti, Lawrence. Translation Changes Everything: Theory and Practice (London and New York: Routledge, 2013).Google Scholar
Worthen, W. B. Shakespeare and the Authority of Performance (Cambridge: Cambridge University Press, 1997).Google Scholar
Worthen, W. B. Shakespeare and the Force of Modern Performance (Cambridge: Cambridge University Press, 2003).Google Scholar
Worthen, W. B. Shakespeare Performance Studies (Cambridge: Cambridge University Press, 2014).Google Scholar
Accessibility standard: Unknown
Why this information is here
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.Accessibility Information
Accessibility compliance for the HTML of this element is currently unknown
and may be updated in the future.
- 12
- Cited by