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An examination of the recreation of Renaissance staging traditions
in modern performances. `Provocative, very readable, and extremely
widely researched; it will be an important intervention in many
ongoing debates.' LUCY MUNRO, Senior Lecturer in English, Keele
University Numerous attempts have been made in the modern and
postmodern era to recreate the staging conventions of Shakespeare's
theatre, from William Poel to the founders of the New Globe. This
volume examines the work of these directors, analysing their
practical successes and failures; it also engages with the
ideological critiques of early modern staging advanced by scholars
such as W.B. Worthen and Ric Knowles. The author argues that rather
than indulging in archaism for its own sake, the movementlooked
backward in a progressive attempt to address the challenges of the
twentieth century. The book begins with a re-examination of the
conventional view of Poel as an antiquarian crank. Subsequent
chapters are devoted toHarley Granville Barker and Nugent Monck;
the author argues that while Barker's major contribution was the
dubious achievement of establishing the movement's reputation as an
essentially literary phenomenon, Monck took the first tentative
steps toward an architectural reimagining of modern performance
spaces, an advance which led to later triumphs in early modern
staging. The book then traces the sporadic and irregular
development of Tyrone Guthrie's commitment to early modern
practices. The final chapter looks at how competing historical
theories of playhouse design influenced the construction of the
Globe, while the conclusion discusses the ongoing potential of
early modern staging in the new millennium. Dr JOE FALOCCO is
Lecturer in English, Texas State University.
Fourteen scholars who work on campus or in the theater address this
issue of what it means to play offstage. With their individual
definition of what "offstage" could mean, the results were,
predictably, varied. They employed a variety of critical approaches
to the question of what happens when the play moves into the
audience or beyond the physical playhouse itself? What are the
social, cultural, and political ramifications? Questions of "how"
and "why" actors play offstage admit the larger "role" their
production has for the world outside the theater, and hence this
collection's sub-title: "The Theater As a Presence or Factor in the
Real World." Among the various topics, the essays include: breaking
the "fourth wall" and thereby making the audience part of the
performance; the theater of political protest (one contributor
staged Waiting for Godot in Zuccotti Park as part of the Occupy
Wall Street protests); "landscape" or "town" theater using citizens
as actors or trekking theater where the production moves among
various locations in the community; the way principles of the
theater can inform corporate management; the genre of semi-scripted
comedy and quasi-impromptu spectacle (such as reality TV or flash
mobs); digitalized performances of Shakespeare; the role of Greek
Theater in the midst of the country's current economic and
political crisis; how the area outside the theater became part of
the performance inside Shakespeare's Globe; Timothy Leary's
Psychedelic Celebrations designed to reproduce the offstage
experience of LSD; WilliamVollmann's use of Noh theater to fashion
a personal model and process of life-transformation; liminal
theater which erases the line between onstage and off. The
collection thus complements through actual performance criticism
those studies that see the theater as a commentary on
issues-social, political, economic; and it reverses the Editor's
own earlier collection The Audience As Player, which examined
interactive theater where the spectator comes onstage.
Fourteen scholars who work on campus or in the theater address this
issue of what it means to play offstage. With their individual
definition of what "offstage" could mean, the results were,
predictably, varied. They employed a variety of critical approaches
to the question of what happens when the play moves into the
audience or beyond the physical playhouse itself? What are the
social, cultural, and political ramifications? Questions of "how"
and "why" actors play offstage admit the larger "role" their
production has for the world outside the theater, and hence this
collection's sub-title: "The Theater As a Presence or Factor in the
Real World." Among the various topics, the essays include: breaking
the "fourth wall" and thereby making the audience part of the
performance; the theater of political protest (one contributor
staged Waiting for Godot in Zuccotti Park as part of the Occupy
Wall Street protests); "landscape" or "town" theater using citizens
as actors or trekking theater where the production moves among
various locations in the community; the way principles of the
theater can inform corporate management; the genre of semi-scripted
comedy and quasi-impromptu spectacle (such as reality TV or flash
mobs); digitalized performances of Shakespeare; the role of Greek
Theater in the midst of the country's current economic and
political crisis; how the area outside the theater became part of
the performance inside Shakespeare's Globe; Timothy Leary's
Psychedelic Celebrations designed to reproduce the offstage
experience of LSD; WilliamVollmann's use of Noh theater to fashion
a personal model and process of life-transformation; liminal
theater which erases the line between onstage and off. The
collection thus complements through actual performance criticism
those studies that see the theater as a commentary on
issues-social, political, economic; and it reverses the Editor's
own earlier collection The Audience As Player, which examined
interactive theater where the spectator comes onstage.
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