Double Shakespeares examines contemporary performances of
Shakespeare plays that employ the "emotional realist" traditions of
acting that were codified by Stanislavski over a century ago. These
performances recognize the inescapable doubleness of realism: that
the actor may aspire to be the character but can never fully do so.
This doubleness troubled the late-nineteenth-century actors and
theorists who first formulated realist modes of acting; and it
equally troubles theorists and theatre practitioners today. The
book first looks at contemporary performances that foreground the
doubleness of the actor's body, particularly through
cross-dressing. It then examines narratives of Shakespearean
rehearsal-both fictional representations of rehearsal in film and
video, and eye-witness narratives of actual rehearsals-and how they
show us the process by which the actor does or does not "become"
the character. And, finally, it looks at modern performances that
"frame" Shakespeare's play as a play-within-a-play, showing the
audience both the character in the Shakespeare play-within and the
actor in the frame-play acting that character.
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