The series statement "Oxford handbooks to Shakespeare" taken from dust jacket.

Includes bibliographical references and index.

Table of Contents
Introduction: Cross-Currents in Performance Criticism, James C. Bulman
PART I: EXPERIMENTAL SHAKESPEARE
1:Experimental Shakespeare, Susan Bennett
2:Shakespeare and the Contemporary: Psychology, Culture, and Audience in Othello Production, Bridget Escolme
3:'Deared by Being Lacked': The Realist Legacy and the Art of Failure in Shakespearean Performance, Roberta Barker
4:Shakespeare for Dummies, or 'See the Puppets Dallying', Carol Chillington Rutter
5:Not-Shakespeare and the Shakespearean Ghost, Peter Kirwan
6:Shakespeare's Property Ladder: Women Directors and the Politics of 'Ownership', Kim Solga
7:Dialectical Shakespeare: Pedagogy in Performance, Andrew James Hartley
8:Captive Shakespeare, Ton Hoensalaars
PART II: RECEPTION
9:(How) Should We Listen to Audiences? Race, Reception, and the Audience Survey, Ayanna Thompson
10:Forgetting Performance, Peter Holland
11:Documenting the Demotic: Actor Blogs and the Guts of the Opera Singer, Cary M. Mazer
12:The Time is Out of Joint: Shakespeare, Jet Lag, and the Rhythms of Performance, Robert Shaughnessy
13:Archives and Anecdotes, Paul Menzer
14:Reveries of a Shakespearean Walker, Robert Conkie
15:Intimate and Epic Macbeths in Contemporary Performance, Katherine Prince
PART III: MEDIA AND TECHNOLOGY
16:High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman Tragedies and the Problem of Spectatorship, Thomas Cartelli
17:'It's All a Bit of a Risk': Reformulating 'Liveness' in Twenty-First Century Performances of Shakespeare, Stephen Purcell
18:Technology and the Ethics of Spectatorship, Pascale Aebischer
19:Shakespearean Technicity, W. B. Worthen
20:Performance in Digital Editions of Shakespeare, Sarah Werner
21:Shakespeare's Rebirth: Performance in Music, Dance, Theatre, and Cinema in the Age of Electro-Digital Reproduction, Anthony R. Guneratne
22:Making 'Music at the Editing Table': Echoing Verdi in Welles' Othello, Scott Newstok
23:'Nobody's Perfect': Cross-Dressing and Gender-Bending in Sven Gade's Hamlet and Julie Taymor's Tempest, Samuel Crowl
24:Can the Subaltern Sing? Liz White's Othello, Courtney Lehmann
PART IV: GLOBAL SHAKESPEARE
25:Global Shakespeare Criticism beyond the Nation-State, Alexa Alice Joubin
26:Global Shakespeare and Globalized Performance, Dennis Kennedy
27:Performance, Presence, and Personal Responsibility: Witnessing Global Theatre in and around the Globe, Christie Carson
28:Shakespeare with and without its Language, Sonia Massai
29:Slapstick against Stereotypes in South Sudan's Cymbeline, Rose Elfman
30:Open and Closed: Workshopping Shakespeare in South Africa, Colette Gordon
31:Indigenizing Shakespeare in South Africa, Adele Seeff
32:'Victim of Improvisation' in Latin America: Shakespeare Out-sourced and In-taken, Alfredo Michel Modenessi
33:Global Cultural Tourism at Canada's Stratford Festival: The Adventures of Pericles, Robert Ormsby
34:Verbal and Visual Representations in Modern Japanese Shakespeare Productions, Michiko Suematsu
35:There Is a World Elsewhere: Shakespeare on the Chinese Stage, Li Ruru
36:Translating Performance: the Asian Shakespeare Intercultural Archive, Yong Li Lan

The Oxford Handbooks to Shakespeare are designed to record past and present investigations and renewed and revised judgments by both familiar and younger Shakespeare specialists. Each of these volumes is edited by one or more internationally distinguished Shakespeareans; together, they comprehensively survey the entire field.

Shakespearean performance criticism has firmly established itself as a discipline accessible to scholars and general readers alike. And just as performances of the plays expand audiences' understanding of how Shakespeare speaks to them, so performance criticism is continually shifting the contours of the discipline. The 36 contributions in this volume represent the most current approaches to Shakespeare in performance. They are divided into four parts. Part I explores how experimental modes of performance ensure Shakespeare's contemporaneity. Part II tackles the burgeoning field of reception: how and why audiences respond to performances as they do. Part III addresses the ways in which technology has revolutionized our access to Shakespeare, both through the mediums of film and sound recording and through digitalization. Part IV grapples with 'global' Shakespeare, considering matters of cultural appropriation in productions played for international audiences. Together, these ground-breaking essays attest to the richness and diversity of Shakespearean performance criticism as it is practiced today