Reimagining Shakespeare S Playhouse

Numerous attempts have been made in the modern and postmodern era to recreate the staging conventions of Shakespeare's theatre, from William Poel to the founders of the New Globe. This volume examines the work of these directors, analyzing their practical successes and failures; it also engages with the ideological critiques of early modern staging advanced by scholars such as W.B. Worthen and Ric Knowles. The author argues that rather than indulging in archaism for its own sake, the movement looked backward in a progressive attempt to address the challenges of the twentieth century. The book begins with a re-examination of the conventional view of Poel as an antiquarian crank. Subsequent chapters are devoted to Harley Granville Barker and Nugent Monck; the author argues that while Barker's major contribution was the dubious achievement of establishing the movement's reputation as an essentially literary phenomenon, Monck took the first tentative steps toward an architectural reimagining of modern performance space, an advance which led to later triumphs in early modern staging. The book than traces the sporadic and irregular development of Tyrone Guthrie's commitment to early modern practices. The final chapter looks at how competing historical theories of playhouse design influenced the construction of the Globe, while the conclusion discusses the ongoing potential of early modern staging in the new millennium.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Shakespeare education is being reimagined around the world. This book delves into the important role of collaborative projects in this extraordinary transformation. Over twenty innovative Shakespeare partnerships from the UK, US, Australia, New Zealand, the Middle East, Europe and South America are critically explored by their leaders and participants. –Structured into thematic sections covering engagement with schools, universities, the public, the digital and performance, the chapters offer vivid insights into what it means to teach, learn and experience Shakespeare in collaboration with others. Diversity, equality, identity, incarceration, disability, community and culture are key factors in these initiatives, which together reveal how complex and humane Shakespeare education can be. Whether you are interested in practice or theory, this collection showcases an abundance of rich, inspiring and informative perspectives on Shakespeare education in our contemporary world.

This collection celebrates the opening of the Shakespeare North Playhouse (SNP). After discussion of its genesis and development by four people pivotal to its progress at different stages of the project, this book explores different aspects of the SNP’s purpose and functions across three broad categories: buildings and spaces, practices and performance, and community arts and education. Various chapters offer answers to fundamental questions about replica theatres, including: Why do we build them? What do they do? How do we use them? In the course of these discussions, the purposes, potential, and programming of the SNP are discussed in relation to other Globe-type replicas in the UK and beyond. Contributors to this collection analyse key academic and practice-based concerns within their fields of expertise connected to the use (and misuse) of replica theatres to suggest the ways in which they can be used to drive research and practice in contemporary Shakespearean performance, connect with young people, and serve local communities. This book will appeal to academics, students, and practitioners interested in historical and contemporary approaches to Shakespeare in the fields covered. It should also appeal to general readers with an interest in the topics, particularly in Merseyside and the North-West region.

Performing Transversally expands on Bryan Reynolds' controversial transversal theory in exciting ways while offering groundbreaking analyses of Shakespeare's plays - Hamlet , Othello , Macbeth , Taming of the Shrew , Titus Andronicus , Henry V , The Tempest , and Coriolanus - and textual, filmic, and theatrical adaptations of them. With his collaborators, Reynolds challenges traditional readings of Shakespeare, re-evaluating the critical methodologies that characterize them, in regard to issues of cultural difference, authorship, representation, agency, and iconography. Reynolds demonstrates the value of his 'investigative-expansive mode,' outlining a 'transversal poetics' that points toward a critical future that is more aware of its subjective interconnectedness with the topics and audiences it seeks to engage than is reflected in most Shakespeare criticism and literary-cultural scholarship.

Shakespeare and Latinidad is a collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on Latinx productions and appropriations of Shakespeare’s plays.

"Post-Hamlet: Shakespeare in an Era of Textual Exhaustion" examines how postmodern audiences continue to reengage with Hamlet in spite of our culture’s oversaturation with this most canonical of texts. Combining adaptation theory and performance theory with examinations of avant-garde performances and other unconventional appropriations of Shakespeare’s play, Post-Hamlet examines Shakespeare’s Hamlet as a central symbol of our era’s "textual exhaustion," an era in which the reader/viewer is bombarded by text—printed, digital, and otherwise. The essays in this edited collection, divided into four sections, focus on the radical employment of Hamlet as a cultural artifact that adaptors and readers use to depart from textual "authority" in, for instance, radical English-language performance, international film and stage performance, pop-culture and multi-media appropriation, and pedagogy.