A Companion to Shakespeare and Performance

Description

A Companion to Shakespeare and Performance Contents List of Illustrations Notes on Contributors Acknowledgments Introduction: A Kind of History Part I Overviews: Terms of Performance 1 Reconstructing Love: King Lear and Theatre Architecture 2 Shakespeare's Two Bodies 3 Ragging Twelfth Night: 1602, 1996, 2002–3 4 On Location 5 Where is Hamlet? Text, Performance, and Adaptation 6 Shakespeare and the Possibilities of Postcolonial Performance Part II Materialities: Writing and Performance 7 The Imaginary Text, or the Curse of the Folio 8 Shakespearean Screen/Play 9 What Does the Cued Part Cue? Parts and Cues in Romeo and Juliet 10 Editors in Love? Performing Desire in Romeo and Juliet 11 Prefixing the Author: Print, Plays, and Performance Part III Histories 12 Shakespeare the Victorian 13 Shakespeare Goes Slumming: Harlem '37 and Birmingham '97 14 Stanislavski, Othello, and the Motives of Eloquence 15 Shakespeare, Henry VI and the Festival of Britain 16 Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival 17 Performance as Deflection 18 Maverick Shakespeare 19 Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing 20 Performing History: Henry IV, Money, and the Fashion of the Times Part IV Performance Technologies, Cultural Technologies 21 ''Are We Being Theatrical Yet?'': Actors, Editors, and the Possibilities of Dialogue 22 Shakespeare on the Record 23 SShockspeare: (Nazi) Shakespeare Goes Heil-lywood 24 Game Space/Tragic Space: Julie Taymor's Titus 25 Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture 26 Shakespeare on Vacation Part V Identities of Performance 27 Visions of Color: Spectacle, Spectators, and the Performance of Race 28 Shakespeare and the Fiction of the Intercultural 29 Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe 30 Queering the Audience: All-Male Casts in Recent Productions of Shakespeare 31 A Thousand Shakespeares: From Cinematic Saga to Feminist Geography or, The Escape from Iceland 32 Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions Part VI Performing Pedagogies 33 Teaching Through Performance 34 ''The eye of man hath not heard, / The ear of man hath not seen'': Teaching Tools for Speaking Shakespeare Index