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Floating daggers, enchanted handkerchiefs, supernatural storms, and
moving statues have tantalized Shakespeare's readers and audiences
for centuries. The essays in Shakespeare's Things: Shakespearean
Theatre and the Non-Human World in History, Theory, and Performance
renew attention to non-human influence and agency in the plays,
exploring how Shakespeare anticipates new materialist thought,
thing theory, and object studies while presenting accounts of
intention, action, and expression that we have not yet noticed or
named. By focusing on the things that populate the plays-from
commodities to props, corpses to relics-they find that canonical
Shakespeare, inventor of the human, gives way to a lesser-known
figure, a chronicler of the ceaseless collaboration among persons,
language, the stage, the object world, audiences, the weather, the
earth, and the heavens.
Floating daggers, enchanted handkerchiefs, supernatural storms, and
moving statues have tantalized Shakespeare's readers and audiences
for centuries. The essays in Shakespeare's Things: Shakespearean
Theatre and the Non-Human World in History, Theory, and Performance
renew attention to non-human influence and agency in the plays,
exploring how Shakespeare anticipates new materialist thought,
thing theory, and object studies while presenting accounts of
intention, action, and expression that we have not yet noticed or
named. By focusing on the things that populate the plays-from
commodities to props, corpses to relics-they find that canonical
Shakespeare, inventor of the human, gives way to a lesser-known
figure, a chronicler of the ceaseless collaboration among persons,
language, the stage, the object world, audiences, the weather, the
earth, and the heavens.
In the first comprehensive study of how Shakespeare designed his
plays to suit his playing company, Brett Gamboa demonstrates how
Shakespeare turned his limitations to creative advantage, and how
doubling roles suited his unique sense of the dramatic. By
attending closely to their dramaturgical structures, Gamboa
analyses casting requirements for the plays Shakespeare wrote for
the company between 1594 and 1610, and describes how using the
embedded casting patterns can enhance their thematic and theatrical
potential. Drawing on historical records, dramatic theory, and
contemporary performance this innovative work questions received
ideas about early modern staging and provides scholars and
contemporary theatre practitioners with a valuable guide to
understanding how casting can help facilitate audience engagement.
Supported by an appendix of speculative doubling charts for plays,
illustrations, and online resources, this is a major contribution
to the understanding of Shakespeare's dramatic craft.
In the first comprehensive study of how Shakespeare designed his
plays to suit his playing company, Brett Gamboa demonstrates how
Shakespeare turned his limitations to creative advantage, and how
doubling roles suited his unique sense of the dramatic. By
attending closely to their dramaturgical structures, Gamboa
analyses casting requirements for the plays Shakespeare wrote for
the company between 1594 and 1610, and describes how using the
embedded casting patterns can enhance their thematic and theatrical
potential. Drawing on historical records, dramatic theory, and
contemporary performance this innovative work questions received
ideas about early modern staging and provides scholars and
contemporary theatre practitioners with a valuable guide to
understanding how casting can help facilitate audience engagement.
Supported by an appendix of speculative doubling charts for plays,
illustrations, and online resources, this is a major contribution
to the understanding of Shakespeare's dramatic craft.
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