Bøker i Elements in Shakespeare Performance-serien

Drawing upon the work of the Royal Shakespeare Company, Shakespeare's Globe and the Schaubuhne Berlin, About Shakespeare examines theatrical bodies, the spaces inhabited by actors and audiences, and the texts that circulate around and between them.

Through several case studies the author analyses the interaction between blackface and (institutional) racism in Dutch society and theatre and how Othello has become an active player in this debate.

This short history of Shakespeare in global performance-from the re-opening of London theatres upon the restoration of the monarchy in 1660 to our present multicultural day-provides a comprehensive overview of Shakespeare's theatrical afterlife and introduces categories of analysis and understanding to make that afterlife intellectually meaningful.

Scholars of Shakespeare's history plays, Shakespeare in performance, and fans of The Hollow Crown will all be drawn to this exploration of two marathon productions of Shakespearean histories. With an emphasis on details of the productions, the book explores their impact, still resonating as the performances themselves recede into history.

This Element demonstrates how Much Ado about Nothing models an understanding of the philosophy of Stoicism as performance, rather than as intellectual doctrine. It explores how a performative understanding lived on in one of the most influential texts of the era and ends with a sustained reading of Much Ado about Nothing to demonstrate how the play acts as a Stoic exercise.

The first in-depth study of the present-day all-boy company, Edward's Boys, who are based at King Edward VI School ('Shakespeare's School') in Stratford-upon-Avon. Since 2005, the company has produced a wide array of early modern plays, providing the most substantial repertory of early modern drama available for examination by scholars.

This Element focuses on the casting in productions of Shakespeare from 2017-2020 to demonstrate how directors are using casting as the central mode of meaning-making in productions of Shakespeare.

This Element offers a first-person phenomenological history of watching productions of Shakespeare during the pandemic year of 2020. It explores how Shakespeare 'went viral' during the first lockdown of 2020.

This Element examines recent documentaries depicting marginalized youth who are ostensibly redeemed by their encounters with Shakespeare. These films emerge in response to four historical and discursive developments: the rise of reality television and its emphasis on the emotional transformation of the private individual; the concomitant rise of neoliberalism and emotional capitalism, which employ therapeutic discourses to individualize social inequality; the privatization of public education and the rise of so-called "e;no-excuses"e; or "e;new paternalist"e; charter schools; and the emergence of new modes of address infusing evangelical conversion narratives with a therapeutic self-help ethos.

This study returns to the origins of Robert Lepage's directorial work and his first cross-cultural interaction with a Shakespearean text to provide some background for his later work. This early work is situated within the political and social context of Quebec and Canada in the 1980s. Constitutional wrangling and government policies of bilingualism, biculturalism and multiculturalism all had a profound impact on this director, helping to forge his priorities and working methods. In 2018 two of Lepage's productions were cancelled due to concerns about cultural appropriation. Lepage responded by stating his view that the artist is as above the concerns of political correctness. While this approach was deemed acceptable in the 1980s, this study looks at the dangers posed by approaching cross-cultural creation from this standpoint in the 21st century.

Drawing on scholarly research, artist experience, and audience behaviour, This Distracted Globe considers the disruptive, affective, phenomenological, and generative potential of distraction in contemporary performance at the Globe.