Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

30 results

Page 1 of 2

Teaching Shakespeare and His Sisters

Teaching Shakespeare and His Sisters
  • An Embodied Approach
  • Emma Whipday
  • Published online:
    09 June 2023
    Print publication:
    13 July 2023
  • What are we teaching, when we teach Shakespeare? Today, the Shakespeare classroom is often also a rehearsal room; we teach Shakespeare plays as both literary texts and cues for theatrical performance. This Element explores the possibilities of an 'embodied' pedagogical approach as a tool to inform literary analysis. The first section offers an overview of the embodied approach, and how it might be applied to Shakespeare plays in a playhouse context. The second applies this framework to the play-making, performance, and story-telling of early modern women – 'Shakespeare's sisters' – as a form of feminist historical recovery. The third suggests how an embodied pedagogy might be possible digitally, in relation to online teaching. In so doing, this Element makes the case for an embodied pedagogy for teaching Shakespeare.

  • Introduction

  • Edited by Simon Smith, Shakespeare Institute, University of Birmingham, Emma Whipday
  • Book:
    Playing and Playgoing in Early Modern England
    Published online:
    10 March 2022
    Print publication:
    17 March 2022, pp 1-12

  • Summary

    The introduction to Playing and Playgoing: Actor, Audience and Performance in Early Modern England argues that the study of theatrical culture is crucial to the scholarly investigation of dramatic texts: not merely of historical interest, but necessary for a full understanding of the plays themselves. Playing and Playgoing works with and reflects on approaches drawn from literary scholarship, theatre history, and performance studies, in seeking to advance the critical conversation on the interactions between: play-texts; performance spaces; the bodily, sensory and material experiences of the playhouse; and playgoers’ responses to, and engagements with, the theatre. This introduction explores three textual and archival examples that suggest the significance of the player-playgoer relationship at the heart of this book – and in so doing, it sets up the questions raised by this volume, and the shared interests that operate across the range of approaches these chapters offer.

  • Chapter 2 - ‘Thou Look’st Pale’: Narrating Blanching and Blushing on the Early Modern Stage

  • from Part I - Players
  • Edited by Simon Smith, Shakespeare Institute, University of Birmingham, Emma Whipday
  • Book:
    Playing and Playgoing in Early Modern England
    Published online:
    10 March 2022
    Print publication:
    17 March 2022, pp 37-56

  • Summary

    This chapter focuses on how two involuntary (and often invisible) physical responses, blanching and blushing, are performed and narrated on the early modern stage, asking who describes bodies, whose bodies are described, and what is at stake in the act of description. Whipday explores how blanching and blushing intersects with early modern hierarchies of gender, class, family, and race, especially as mediated by the (white) body of the (boy) actor in ‘blushface’ and blackface performances of femininity. In so doing, she examines narrated bodily responses as dramaturgical devices for negotiating relationships between the physicality of character and performer; between performer and audience in the audience’s engagement with the world of the play as mapped onto the simultaneously real and imagined body of the actor; and, between onstage characters within hierarchical familial, domestic, and service relationships.

Playing and Playgoing in Early Modern England
  • Actor, Audience and Performance
  • Edited by Simon Smith, Emma Whipday
  • Published online:
    10 March 2022
    Print publication:
    17 March 2022
  • This edited collection of essays brings together leading scholars of early modern drama and playhouse culture to reflect upon the study of playing and playgoing in early modern England. With a particular focus on the player-playgoer exchange as a site of dramatic meaning-making, this book offers a timely and significant critical intervention in the field of Shakespeare and early modern drama. Working with and reflecting upon approaches drawn from literary scholarship, theatre history and performance studies, it seeks to advance the critical conversation on the interactions between: players; play-texts; performance spaces; the bodily, sensory and material experiences of the playhouse; and playgoers' responses to, and engagements with, the theatre. Through alternative methodological and theoretical approaches, previously unknown or overlooked evidence, and fresh questions asked of long-familiar materials, the volume offers a new account of early modern drama and performance that seeks to set the agenda for future research and scholarship.

Shakespeare's Domestic Tragedies
  • Violence in the Early Modern Home
  • Emma Whipday
  • Published online:
    04 January 2019
    Print publication:
    03 January 2019
  • Domestic tragedy was an innovative genre, suggesting that the lives and sufferings of ordinary people were worthy of the dramatic scope of tragedy. In this compelling study, Whipday revises the narrative of Shakespeare's plays to show how this genre, together with neglected pamphlets, ballads, and other forms of 'cheap print' about domestic violence, informed some of Shakespeare's greatest works. Providing a significant reappraisal of Hamlet, Othello, and Macbeth, the book argues that domesticity is central to these plays: they stage how societal and familial pressures shape individual agency; how the integrity of the house is associated with the body of the housewife; and how household transgressions render the home permeable. Whipday demonstrates that Shakespeare not only appropriated constructions of the domestic from domestic tragedies, but that he transformed the genre, using heightened language, foreign settings, and elite spheres to stage familiar domestic worlds.

Page 1 of 2