000			06381cam a2200433 i 4500
003			CUTN
005			20250328145920.0
008			170502t20172017enkab bf 001 0 eng c
020			_a9780198864011
041			_aEnglish
042			_apcc
082	0	0	_a822.33 _223 _bBUL
245	0	4	_aThe Oxford handbook of Shakespeare and performance / _cedited by James C. Bulman.
246	3	0	_aShakespeare and performance
250			_aFirst edition.
260			_bOxford University Press, _c2020.
300			_axxvii, 669 pages : _billustrations, map ; _c26 cm.
490	1		_aOxford handbooks
490	0		_aOxford handbooks to Shakespeare
500			_aThe series statement "Oxford handbooks to Shakespeare" taken from dust jacket.
504			_aIncludes bibliographical references and index.
505			_tTable 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
520			_aThe 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
600	1	0	_aShakespeare, William, _d1564-1616 _xDramatic production _vHandbooks, manuals, etc.
600	1	0	_aShakespeare, William, _d1564-1616 _xCriticism and interpretation.
600	1	7	_aShakespeare, William, _d1564-1616 _2fast
650		7	_aTheater.
650		7	_2fast _94
655		7	_aCriticism, interpretation, etc. _2fast
655		7	_aHandbooks and manuals. _2fast
700	1		_aBulman, James C.,
700	1		_d1947- _eeditor.
830		0	_aOxford handbooks.
856	4	1	_uhttp://dx.doi.org/10.1093/oxfordhb/9780199687169.001.0001
856	4	1	_zAvailable to Stanford-affiliated users. _yOxford Handbooks Online
906			_a7 _bcbc _cpccadap _d2 _encip _f20 _gy-gencatlg
942			_2ddc _cBOOKS
999			_c44125 _d44125