The 71st in the annual series of volumes devoted to Shakespeare study and production. The articles, like those of volume 70, are drawn from the World Shakespeare Congress, held 400 years after Shakespeare's death, in July/August 2016 in Stratford-upon-Avon and London. The theme is 'Re-Creating Shakespeare'.
The 71st in the annual series of volumes devoted to Shakespeare study and production. The theme is 'Re-Creating Shakespeare'.
Papildus informācija
The 71st in the annual series of volumes devoted to Shakespeare study and production. The theme is 'Re-Creating Shakespeare'.
List of Illustrations; Part I. Shakespeare in Performance Africa and
Asia:
1. Shakespeare's transcolonial solidarities in the global south Sandra
Young;
2. Shakespeare's creolised voices Ashish Beesoondial;
3. 'Accents yet
unknown': Haider and Hamlet in Kashmir Pompa Banerjee;
4. The forests of
silence: global Shakespeare in the Philippines, the Philippines in global
Shakespeare Judy Celine Ick;
5. Arab Shakespeares at the World Shakespeare
Congress Katherine Hennessey and Margaret Litvin;
6. The dual tradition of
bardolatry in China Hao Liu;
7. A catalyst for theatrical reinvention:
contemporary travelling companies at the Tokyo Globe Theatre Michiko
Suematsu; Part II. Shakespeare in Performance The Americas:
8. 'Both alike
in dignity': Havana and Mexico City Play Romeo and Juliet Alfredo Michel
Modenessi;
9. Cuban improvisations: reverse colonization via Shakespeare
Donna Woodford-Gormley;
10. Mixing memory with desire: staging Hamlet Q1
Andrew James Hartley;
11. Shakespeare, race, and 'other' Englishes: the Q
Brothers' Othello: the remix Carla Della Gatta; Part III. Shakespeare in
Performance Europe:
12. 'Mingled yarn': The Merchant of Venice East of
Berlin and the legacy of 'Eastern Europe' Boika Sokolova;
13. Ariel's groans,
or, performing protean gender on the Bulgarian post-communist stage Kirilka
Stavreva;
14. Dressing the history 'boys': Harry's masks, Falstaff's
underpants Carol Chillington Rutter;
15. Shopping for the archives:
fashioning a costume collection Kate Dorney;
16. Pastiche or archetype? The
Sam Wanamaker Playhouse and the project of theatrical reconstruction Holger
Schott Syme;
17. Evolutionary naturalism and ecology in Shakespearian
performance (with scene from King John) Randall Martin; Part IV. Shakespeare
and Other Art Forms:
18. Of dance and disarticulation: Juliet dead and alive
Joseph Campana;
19. Titania's dream: three choreographic Midsummer Night's
Dreams of the twentieth century Iris Julia Bührle;
20. Shakespeare on
screens: close watching, close listening Peter Holland;
21. From table books
to Tumblr: recollecting the microgenres of the early modern stage in social
media Cyrus Mulready;
22. Unlearning Shakespeare studies: speculative
criticism and the place of fan activism Louise Geddes;
23. Titus Andronicus
and trapdoors at the Rose and Newington Butts Mark Hutchings;
24.
Shakespeare's bewitching line Robert Stagg;
25. At the sign of the angel: the
influence of Andrew Wise on Shakespeare in print Amy Lidster;
26. Shakespeare
and Hardy: the tragi-comic nexus Thomas McAlindon;
27. Queer Iago: a brief
history Jonathan Crewe;
28. Global Shakespeare and the censor: adaptation,
context and Shakespeare Must Die, a Thai film adaptation of Macbeth Mark
Thornton Burnett;
29. Hathaway farm: commemorating Warwickshire Will between
the wars Katherine Scheil;
30. Shakespeare performances in England, 2017
Stephen Purcell;
31. Professional Shakespeare productions in the British
Isles, January-December 2016 James Shaw;
32. The year's contribution to
Shakespeare studies;
1. Critical studies reviewed by Charlotte Scott;
2.
Shakespeare in performance reviewed by Russell Jackson;
3. Editions and
textual studies reviewed by Peter Kirwan; Abstracts; Index.
Peter Holland is McMeel Family Professor in Shakespeare Studies and Department Chair of the Department of Film, Television and Theater at the University of Notre Dame, Indiana.
