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It's Cabaret, we've got our heads down and we're dancing and
drinking as fast as we can. The enemy is on its way, but this time
it doesn't have guns and gas it has storms and earthquakes, fire
and brimstone.... You were the glimmer. At the end of the tunnel.
And you went out. Earthquakes in London is a fast and furious
metropolitan crash of people, scenes and decades, as three sisters
attempt to navigate their dislocated lives and loves, while their
dysfunctional father, a brilliant scientist, predicts global
catastrophe. The play deals, through amplified theatricality, with
a range of contemporary issues from population growth to climate
change. An all-pervasive fear of the future and a guilty pleasure
in the excesses of the present drive Mike Bartlett's epic
rollercoaster of a play from 1968 to 2525 and back again.
Earthquakes in London first published in 2010 and has subsequently
become a much-produced and widely studied drama text. It is
published here as a Student Edition alongside commentary and notes
by Bridget Escolme. The ancillary material is geared at students
and includes: - an introduction outlining the play's plot,
character, themes context and performance history - the full text
of the play - a chronology of the playwright's life and work -
extensive textual notes - questions for further study - an
interview with the playwright
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
Emotional Excess on the Shakespearean Stage demonstrates the links
made between excess of emotion and madness in the early modern
period. It argues that the ways in which today's popular and
theatrical cultures judge how much is too much can distort our
understanding of early modern drama and theatre. It argues that
permitting the excesses of the early modern drama onto the
contemporary stage might free actors and audiences alike from
assumptions that in order to engage with the drama of the past, its
characters must be just like us. The book deals with characters in
the plays of Shakespeare and his contemporaries who are sad for too
long, or angry to the point of irrationality; people who laugh when
they shouldn't or make their audiences do so; people whose selfhood
has broken down into an excess of fragmentary extremes and who are
labelled mad. It is about moments in the theatre when excessive
emotion is rewarded and applauded - and about moments when the
expression of emotion is in excess of what is socially acceptable:
embarrassing, shameful, unsettling or insane. The book explores the
broader cultures of emotion that produce these theatrical moments,
and the theatre's role in regulating and extending the acceptable
expression of emotion. It is concerned with the acting of excessive
emotion and with acting emotion excessively. And it asks how these
excesses are produced or erased, give pleasure or pain, in versions
of early modern drama in theatre, film and television today. Plays
discussed include Hamlet, Romeo and Juliet, The Spanish Tragedy,
Twelfth Night, Much Ado About Nothing, Measure for Measure, and
Coriolanus.
This unique study investigates the ways in which the staging
convention of direct address - talking to the audience - can
construct selfhood, for Shakespeare's characters. By focusing
specifically on the relationship between performer and audience,
Talking to the Audience examines what happens when the audience are
in the presence of a dramatic figure who knows they are there. It
is a book concerned with theatrical illusion; with the pleasures
and disturbances of seeing 'characters' produced in the moment of
performance.
Through analysis of contemporary productions Talking to the
Audience serves to demonstrate how the study of recent performance
helps us to understand both Shakespeare's cultural moment and our
own. Its exploration of how theory and practice can inform each
other make this essential reading for all those studying
Shakespeare in either a literary or theatrical context.
This unique study investigates the ways in which the staging
convention of direct address - talking to the audience - can
construct selfhood, for Shakespeare's characters. By focusing
specifically on the relationship between performer and audience,
Talking to the Audience examines what happens when the audience are
in the presence of a dramatic figure who knows they are there. It
is a book concerned with theatrical illusion; with the pleasures
and disturbances of seeing 'characters' produced in the moment of
performance.
Through analysis of contemporary productions Talking to the
Audience serves to demonstrate how the study of recent performance
helps us to understand both Shakespeare's cultural moment and our
own. Its exploration of how theory and practice can inform each
other make this essential reading for all those studying
Shakespeare in either a literary or theatrical context.
What is the role of costume in Shakespeare production? Shakespeare
and Costume in Practice argues that costume design choices are
central not only to the creation of period setting and the actor's
work on character, but to the cultural, political, and
psychological meanings that the theatre makes of Shakespeare. The
book explores questions about what the first Hamlet looked like in
his mourning cloak; how costumes for a Shakespeare comedy can
reflect or critique the collective nostalgias a culture has for its
past; how costume and casting work together to ask new questions
about Shakespeare and race. Using production case studies of
Hamlet, Much Ado About Nothing, and The Tempest, the book
demonstrates that costume design can be a site of experimentation,
playfulness, and transgression in the theatre - and that it can
provoke audiences to think again about what power, race, and gender
look like on the Shakespearean stage.
What is the role of costume in Shakespeare production? Shakespeare
and Costume in Practice argues that costume design choices are
central not only to the creation of period setting and the actor's
work on character, but to the cultural, political, and
psychological meanings that the theatre makes of Shakespeare. The
book explores questions about what the first Hamlet looked like in
his mourning cloak; how costumes for a Shakespeare comedy can
reflect or critique the collective nostalgias a culture has for its
past; how costume and casting work together to ask new questions
about Shakespeare and race. Using production case studies of
Hamlet, Much Ado About Nothing, and The Tempest, the book
demonstrates that costume design can be a site of experimentation,
playfulness, and transgression in the theatre - and that it can
provoke audiences to think again about what power, race, and gender
look like on the Shakespearean stage.
The New Cambridge Shakespeare appeals to students worldwide for its
up-to-date scholarship and emphasis on performance. The series
features line-by-line commentaries and textual notes on the plays
and poems. Introductions are regularly refreshed with accounts of
new critical, stage and screen interpretations. This second edition
of Coriolanus, edited by Lee Bliss, provides a thorough
reconsideration of what was probably Shakespeare's last tragedy. In
the introduction, Bliss situates the play within its contemporary
social and political contexts and pays particular attention to
Shakespeare's manipulation of his primary source in Plutarch's
Lives. The edition is alert to the play's theatrical potential,
while the stage history also attends to the politics of performance
from the 1680s onwards, including European productions following
the Second World War. A new introductory section by Bridget Escolme
accounts for recent theatrical productions as well as scholarly
criticism of the last decade, with particular emphasis on gender
and politics.
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
Emotional Excess on the Shakespearean Stage demonstrates the links
made between excess of emotion and madness in the early modern
period. It argues that the ways in which today's popular and
theatrical cultures judge how much is too much can distort our
understanding of early modern drama and theatre. It argues that
permitting the excesses of the early modern drama onto the
contemporary stage might free actors and audiences alike from
assumptions that in order to engage with the drama of the past, its
characters must be just like us. The book deals with characters in
the plays of Shakespeare and his contemporaries who are sad for too
long, or angry to the point of irrationality; people who laugh when
they shouldn't or make their audiences do so; people whose selfhood
has broken down into an excess of fragmentary extremes and who are
labelled mad. It is about moments in the theatre when excessive
emotion is rewarded and applauded - and about moments when the
expression of emotion is in excess of what is socially acceptable:
embarrassing, shameful, unsettling or insane. The book explores the
broader cultures of emotion that produce these theatrical moments,
and the theatre's role in regulating and extending the acceptable
expression of emotion. It is concerned with the acting of excessive
emotion and with acting emotion excessively. And it asks how these
excesses are produced or erased, give pleasure or pain, in versions
of early modern drama in theatre, film and television today. Plays
discussed include Hamlet, Romeo and Juliet, The Spanish Tragedy,
Twelfth Night, Much Ado About Nothing, Measure for Measure, and
Coriolanus.
Yukio Ninagawa (1935-2016) was Japan's foremost director of
Shakespeare whose productions were acclaimed around the world. His
work was lauded for its spectacular imagery, its inventive use of
Japanese iconography and its striking fusion of Eastern and Western
theatre traditions. Over a career spanning six decades, Ninagawa
directed 31 of Shakespeare's plays, many of them, including Hamlet,
on multiple occasions. His productions of Macbeth, The Tempest,
Pericles, Twelfth Night and Cymbeline became seminal events in
world Shakespeare production during the last 30 years. This is the
first English-language book dedicated exclusively to Ninagawa's
work. Featuring an overview of his extraordinary output, this study
considers his Shakespearean work within the context of his overall
career. Individual chapters cover Ninagawa's approach Shakespeare
and Greek tragedy, in particular his landmark productions of
Macbeth and Medea, and his eight separate productions of Hamlet.
The volume includes a detailed analysis of the Sai-no-Kuni
Shakespeare Series - in which Ninagawa set out to stage all of
Shakespeare's plays in his hometown of Saitama, north of Tokyo.
Written by Conor Hanratty, who studied with Ninagawa for over a
year, it offers a unique and unprecedented glimpse into the work
and approach of one of the world's great theatre directors.
Siblings Sarah Siddons (1755-1831) and John Philip Kemble
(1757-1823) were the most famous British actors of the late-18th
and early-19th centuries. Through their powerful acting and
meticulous conceptualisation of Shakespeare's characters and their
worlds, they created iconic interpretations of Shakespeare's major
roles that live on in our theatrical and cultural memory. This book
examines the actors' long careers on the London stage, from
Siddons's debut in 1782 to Kemble's retirement in 1817,
encompassing Kemble's time as theatre manager, when he sought to
foreground their strengths as Shakespearean performers in his
productions. Over the course of more than thirty years, Siddons and
Kemble appeared opposite one another in many Shakespeare plays,
including King John, Henry VIII, Coriolanus and Macbeth. The actors
had to negotiate two major Shakespeare scandals: the staging of
Vortigern - a fake Shakespearean play - in 1796 and the Old Price
Riots of 1809, during which the audience challenged Siddons's and
Kemble's perceived attempts to control Shakespeare. Fiona Ritchie
examines the siblings' careers, focusing on their collaborations,
as well as placing Siddons's and Kemble's Shakespeare performances
in the context of contemporary 18th- and 19th-century drama. The
volume not only offers a detailed consideration of London theatre,
but also explores the importance of provincial performance to the
actors, notably in the case of Hamlet - a role in which both
appeared across Britain and in Ireland.
A highly engaging text that approaches Shakespeare as a maker of
theatre, as well as a writer of literature. Leading performance
critics dismantle Shakespeare's texts, identifying theatrical cues
in ways which develop understanding of the underlying theatricality
of Shakespeare's plays and stimulate further performances.
The New Cambridge Shakespeare appeals to students worldwide for its
up-to-date scholarship and emphasis on performance. The series
features line-by-line commentaries and textual notes on the plays
and poems. Introductions are regularly refreshed with accounts of
new critical, stage and screen interpretations. This second edition
of Coriolanus, edited by Lee Bliss, provides a thorough
reconsideration of what was probably Shakespeare's last tragedy. In
the introduction, Bliss situates the play within its contemporary
social and political contexts and pays particular attention to
Shakespeare's manipulation of his primary source in Plutarch's
Lives. The edition is alert to the play's theatrical potential,
while the stage history also attends to the politics of performance
from the 1680s onwards, including European productions following
the Second World War. A new introductory section by Bridget Escolme
accounts for recent theatrical productions as well as scholarly
criticism of the last decade, with particular emphasis on gender
and politics.
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