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E-grāmata: Shakespeare, Spectatorship and the Technologies of Performance

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(University of Exeter)
  • Formāts: PDF+DRM
  • Izdošanas datums: 30-Apr-2020
  • Izdevniecība: Cambridge University Press
  • Valoda: eng
  • ISBN-13: 9781108359450
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Shakespeare, Spectatorship and the Technologies of PerformancePalielināt
  • Formāts: PDF+DRM
  • Izdošanas datums: 30-Apr-2020
  • Izdevniecība: Cambridge University Press
  • Valoda: eng
  • ISBN-13: 9781108359450
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"Shakespeare, Spectatorship and Technologies of Performance examines how rapid changes in performance technologies affect modes of spectatorship for early modern drama. It argues that seemingly disparate developments - such as the revival of early modernarchitectural and lighting technologies, digital performance technologies and the hybrid medium of theatre broadcast - are fundamentally related. How spectators experience performances is not only affected in medium-specific ways by particular technologies, but is also connected to the plays' roots in early modern performance environments. Aebischer's examples range from the use of candlelight and re-imagined early modern architecture, to set design, performance capture technologies, digital video, social media, hologram projection, biotechnologies and theatre broadcasts. This book argues that digital and analogue performance technologies alike activate modes of ethical spectatorship, requiring audiences to adopt an ethical standpoint as they decide how to look, where to look, what medium to look through, and how to take responsibility for looking"--

Recenzijas

'This is a brilliant, timely and provocative work of criticism, and a delight to read. Pascale Aebischer is leading the conversation in this field, and she continues to blaze a trail for the rest of us. This book is exemplary performance scholarship: rigorously argued and theoretically-informed, yet written with such a readable style and attention to detail that the performances described really come alive in the mind of the reader.' Stephen Purcell, University of Warwick ' this book presents an exciting frame that could be applied to many others.' William N. West, SEL Studies in English Literature 15001900

Papildus informācija

Examining how technological developments in performance practices affect spectator experience of Shakespeare and early modern drama.
List of Figures
vii
List of Tables
x
Acknowledgements xi
How to Read This Book xv
Introduction: Shakespeare, Spectatorship and the Technologies of Performance 1(32)
Theories of Theatrical Co-presence and Technologies of Performance
3(9)
A Spatial Theory of Technologically Mediated Spectatorship for Early Modern Drama: Locus, Platea and Offstage Obscenity
12(8)
The Platea and the Offstage in the Digital Age
20(8)
Shakespeare, Spectatorship and the Technologies of Performance
28(5)
PART I CANDLELIGHT AND ARCHITECTURE AT THE SAM WANAMAKER PLAYHOUSE
33(52)
Being `True to the Architecture' of a Jacobean `Smart Space': Access, Physical Regimes and Enskilling the Audience
36(15)
1 Dominic Dromgoole's The Changeling (2015): Social Division and Anamorphic Vision
51(15)
(In)visible Labour and the Discovery Space
56(4)
Anamorphic Sex in the Closet
60(6)
2 Dominic Dromgoole's The Tempest (2016): Labour, Technology and the Gender of Theatrical Magic
66(19)
Perspective! Magic and the Model Spectator: Prospero's Tempest
68(8)
`Feeling-Technologies' and the Upper Gallery: Ariel's Tempest
76(3)
Backstage Technicians and Eccentric Lords: The Tempest as Technical Labour
79(6)
PART II DIGITAL TECHNOLOGIES AND EARLY MODERN DRAMA AT THE NATIONAL THEATRE AND THE RSC
85(64)
3 Stanislavski in the Closet: Joe Hill-Gibbins' Edward II (National Theatre, 2013)
89(19)
The Changeling as `Stressor': Obscene Dramaturgy and Stanislavski's `Backstories'
89(11)
The Torture Live Cam: The Voyeuristic Violence of Subject Technologies
100(8)
4 `Tech-Enabled' Theatre at the RSC: Digital Performance and Gregory Doran's Tempest (RSC, 2016)
108(41)
Digital Innovation and Social Media Performances at the RSC: Such Tweet Sorrow (2010), A Midsummer Night's Dreaming (2013) and Volpone (2015)
108(11)
`Future Practices' at the RSC: Gregory Doran's `Tech-Enabled' Tempest (2016)
119(5)
Enter the Cyborg
124(5)
Enter the Body
129(8)
Face-to-Face with the Cyborg: The Crisis of Tech-Enabled Theatre
137(7)
Coda: From Live Performance to Archive
144(5)
PART III `INVISIBLE' TECHNOLOGY AND `LIVENESS' IN DIGITAL THEATRE BROADCASTING
149(70)
5 Hamlet in Parts: Robin Lough's RSC Live Cinema Broadcast of Simon Godwin's Hamlet (8 June 2016)
157(34)
Broadcast-as-Performance: Context, Geopolitical `Backstory' and Process
157(7)
Hamlet in Pans: Telling the Story for a Cinema Audience
164(16)
Technologies of Race: Unconscious Bias in Camera Design and Lighting
180(11)
6 Offstage Dynamics and the Virtual Public Sphere in Cheek by Jowl's Live Stream of Measure for Measure (2015)
191(28)
Control, Response-Ability and the Virtual Public Sphere
192(7)
Framing and Re-framing Isabella in the Technological Setup of the Live Stream
199(8)
Concluding Most Obscenely: Offstage Technophelias
207(12)
Bibliography 219(17)
Index 236
Pascale Aebischer is Professor of Shakespeare and Early Modern Performance Studies at the University of Exeter. She is the author of Shakespeare's Violated Bodies (2004), Jacobean Drama (2010), and Screening Early Modern Drama (2013). Formerly the editor of Shakespeare Bulletin, she has also co-edited several collections of essays, including Performing Early Modern Drama Today (with Kathryn Prince, 2012; Choice Outstanding Academic Title winner 2013), and Shakespeare and the 'Live' Theatre Broadcast Experience (with Susanne Greenhalgh and Laurie Osborne, 2018).
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