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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.
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.
All four figures in this volume have been canonized as central to
'stage-centred' Shakespearean scholarship and stage practice. From
William Poel's reproductions of early modern stages in the late
nineteenth century to Sam Wanamaker's reconstruction of the Globe
on London's South Bank, they all viewed Shakespeare's plays as
being enmeshed in the social and historical dynamics of
theatremaking and theatregoing. The volume considers how their
attempts to recapture early modern performance conditions can be
considered progressive.
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