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The Oxford handbook of Shakespeare and performance
Title statement The Oxford handbook of Shakespeare and performance / edited by James C. Bulman. Publication Oxford : Oxford University Press, 2017. Phys.des. 1 online resource : illustrations (black and white). ISBN 9780191792151 (ebook) : No price Edition Oxford handbooks online Internal Bibliographies/Indexes Note Includes bibliographical references and index. Contents Slapstick against Stereotypes in South Sudan's Cymbeline / Rose Elfman -- Reveries of a Shakespearean Walker / Robert Conkie -- Shakespeare and the Contemporary: Psychology, Culture and Audience in Othello Production / Bridget Escolme -- Open and closed: workshopping Shakespeare in South Africa / Colette Gordon -- Shakespeare's Rebirth: performance in music, dance, theatre, and cinema in the age of electro-digital reproduction / Anthony R. Guneratne -- 'Nobody's Perfect': Cross-Dressing and Gender-Bending in Sven Gade's Hamlet and Julie Taymor's Tempest / Samuel Crowl -- Captive Shakespeare / Ton Hoenselaars -- Global Shakespeare Criticism beyond the Nation-State / Alexa Huang -- Global Shakespeare and Globalized Performance / Dennis Kennedy -- Not-Shakespeare and the Shakespearean Ghost / Peter Kirwan -- Making 'Music at the Editing Table': Echoing Verdi in Welles' Othello / Scott Newstok -- Can the Subaltern Sing? Liz White's Othello / Courtney Lehmann -- There Is a World Elsewhere: Shakespeare on the Chinese Stage / Li Ruru -- Shakespeare with and without its Language / Sonia Massai -- Documenting the Demotic: Actor Blogs and the Guts of the Opera Singer / Cary M. Mazer -- Archives and Anecdotes / Paul Menzer -- 'Victim of Improvisation' in Latin America: Shakespeare Out-sourced and In-taken / Alfredo Michel Modenessi -- Intimate and Epic Macbeths in Contemporary Performance / Katherine Prince -- Global Cultural Tourism at Canada's Stratford Festival: The Adventures of Pericles / Robert Ormsby -- 'It's All a Bit of a Risk': Reformulating 'Liveness' in Twenty-First Century Performances of Shakespeare / Stephen Purcell -- The time is out of joint: Shakespeare, jet lag, and the rhythms of performance / Robert Shaughnessy -- Verbal and Visual Representations in Modern Japanese Shakespeare Productions / Michiko Suematsu -- (How) Should We Listen to Audiences?: Race, Reception, and the Audience Survey / Ayanna Thompson -- Performance in Digital Editions of Shakespeare / Sarah Werner -- Shakespearean Technicity / W.B. Worthen -- Translating Performance: the Asian Shakespeare Intercultural Archive / Yong Li Lan -- Dialectical Shakespeare: Pedagogy in Performance / Andrew James Hartley -- Forgetting Performance / Peter Holland -- Technology and the Ethics of Spectatorship / Pascale Aebischer -- Shakespeare for Dummies, or 'See the Puppets Dallying' / Carol Chillington Rutter -- Indigenizing Shakespeare in South Africa / Adele F. Seeff -- Shakespeare's Property Ladder: Women Directors and the Politics of 'Ownership' / Kim Solga -- Introduction: Cross-Currents in Performance Criticism / James C. Bulman -- 'Deared by Being Lacked': The Realist Legacy and the Art of Failure in Shakespearean Performance / Roberta Barker -- Experimental Shakespeare / Susan Bennett -- Performance, Presence, and Personal Responsibility: Witnessing Global Theatre in and around the Globe / Christie Carson -- High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman Tragedies and the Problem of Spectatorship / Thomas Cartelli. Notes to Availability Přístup pouze pro oprávněné uživatele Audience Specialized. Another responsib. Bulman, James C., 1947- Personalities Shakespeare, William, 1564-1616 - Dramatic production. Form, Genre elektronické knihy electronic books Country Anglie Language angličtina Document kind Electronic books URL Plný text pro studenty a zaměstnance UPOL 
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Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance.
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