The Arden Research Handbook of Shakespeare and Contemporary Performance

Description

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. Cover Contents List of Illustrations Notes on Contributors Series Preface Acknowledgements Introduction Peter Kirwan and Kathryn Prince Part One: Research methods and problems 1.1 The archive: Show reporting Shakespeare Rob Conkie 1.2 The audience: Receiving and remaking experience Margaret Jane Kidnie 1.3 The event: Festival Shakespeare Paul Prescott Part Two: Current research and issues 2.1 Original Practices: Old ways and new directions Sarah Dustagheer 2.2 Space: Locus and platea in modern Shakespearean performance Stephen Purcell 2.3 Economics: Shakespeare performing cities Susan Bennett 2.4 Networks: Researching global Shakespeare Sonia Massai 2.5 Global mediation: Performing Shakespeare in the age of networked and digital cultures Alexa Alice Joubin 2.6 Canon: Framing not-Shakespearean performance Eoin Price 2.7 Pedagogy: Decolonizing Shakespeare on stage Andrew James Hartley, Kaja Dunn and Christopher Berry 2.8 Ethics: The challenge of practising (and not just representing) diversity at the Stratford Festival of Canada Erin Julian and Kim Solga 2.9 Bodies: Gender, race, ability and the Shakespearean stage Roberta Barker 2.10 Technology: The desire called cinema: Materiality, biopolitics and post-anthropocentric feminism in Julie Taymor’s The Tempest Courtney Lehmann PART THREE New directions in Shakespeare and performance Curated by Nora J. Williams and C. K. Ash Anne G. Morgan Jatinder Verma Judith Greenwood Dan Bray and Colleen MacIsaac Migdalia Cruz Lisa Wolpe Julia Nish-Lapidus and James Wallis Ravi Jain Emma Whipday Wole Oguntokun Vishal Bhardwaj Adam Cunis James Loehlin Denice Hicks @Shakespeare Yang Jung-ung Part Four: Resources for researchers 4.1 Chronology: A fifty-year history of performance criticism James C. Bulman 4.2 A–Z of key terms Bríd Phillips, with Peter Kirwan and Kathryn Prince 4.3 Annotated bibliography Karin Brown, Peter Kirwan and Kathryn Prince 4.4 Resources Peter Kirwan and Kathryn Prince Index