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Shakespeare, Spectatorship and the Technologies of Performance
examines how rapid changes in performance technologies affect modes
of spectatorship for early modern drama. It argues that seemingly
disparate developments - such as the revival of early modern
architectural and lighting technologies, digital performance
technologies and the hybrid medium of theatre broadcast - are
fundamentally related. How spectators experience performances is
not only affected in medium-specific ways by particular
technologies, but is also connected to the plays' roots in early
modern performance environments. Aebischer's examples range from
the use of candlelight and re-imagined early modern architecture,
to set design, performance capture technologies, digital video,
social media, hologram projection, biotechnologies and theatre
broadcasts. This book argues that digital and analogue performance
technologies alike activate modes of ethical spectatorship,
requiring audiences to adopt an ethical standpoint as they decide
how to look, where to look, what medium to look through, and how to
take responsibility for looking.
This ground breaking collection of essays is the first to examine
the phenomenon of how, in the twenty-first century, Shakespeare has
been experienced as a 'live' or 'as-live' theatre broadcast by
audiences around the world. Shakespeare and the 'Live' Theatre
Broadcast Experience explores the precursors of this phenomenon and
its role in Shakespeare's continuing globalization. It considers
some of the most important companies that have produced such
broadcasts since 2009, including NT Live, Globe on Screen, RSC Live
from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh
Theatre Company Live, and Cheek by Jowl, and examines the impact
these broadcasts have had on branding, ideology, style and access
to Shakespeare for international audiences. Contributors from
around the world reflect on how broadcasts impact on actors'
performances, changing viewing practices, local and international
Shakespearean fan cultures and the use of social media by audience
members for whom "liveness" is increasingly tied up in the
experience economy. The book tackles vexing questions regarding the
'presentness' and 'liveness' of performance in the 21st century,
the reception of Shakespeare in a globally-connected environment,
the challenges of sustaining an audience for stage Shakespeare, and
the ideological implications of consuming theatre on screen. It
will be crucial reading for scholars of the 'live' theatre
broadcast, and enormously helpful for scholars of Shakespeare on
screen and in performance more broadly.
This Element offers a first-person phenomenological history of
watching productions of Shakespeare during the pandemic year of
2020. The first section of the Element explores how Shakespeare
'went viral' during the first lockdown of 2020 and considers how
the archival recordings of Shakespeare productions made freely
available by theatres across Europe and North America impacted on
modes of spectatorship and viewing practices, with a particular
focus on the effect of binge-watching Hamlet in lockdown. The
Element's second section documents two made-for-digital productions
of Shakespeare by Oxford-based Creation Theatre and Northern Irish
Big Telly, two companies who became leaders in digital theatre
during the pandemic. It investigates how their productions of The
Tempest and Macbeth modelled new platform-specific ways of engaging
with audiences and creating communities of viewing at a time when,
in the UK, government policies were excluding most
non-building-based theatre companies and freelancers from pandemic
relief packages.
Shakespeare, Spectatorship and the Technologies of Performance
examines how rapid changes in performance technologies affect modes
of spectatorship for early modern drama. It argues that seemingly
disparate developments - such as the revival of early modern
architectural and lighting technologies, digital performance
technologies and the hybrid medium of theatre broadcast - are
fundamentally related. How spectators experience performances is
not only affected in medium-specific ways by particular
technologies, but is also connected to the plays' roots in early
modern performance environments. Aebischer's examples range from
the use of candlelight and re-imagined early modern architecture,
to set design, performance capture technologies, digital video,
social media, hologram projection, biotechnologies and theatre
broadcasts. This book argues that digital and analogue performance
technologies alike activate modes of ethical spectatorship,
requiring audiences to adopt an ethical standpoint as they decide
how to look, where to look, what medium to look through, and how to
take responsibility for looking.
This ground breaking collection of essays is the first to examine
the phenomenon of how, in the twenty-first century, Shakespeare has
been experienced as a 'live' or 'as-live' theatre broadcast by
audiences around the world. Shakespeare and the 'Live' Theatre
Broadcast Experience explores the precursors of this phenomenon and
its role in Shakespeare's continuing globalization. It considers
some of the most important companies that have produced such
broadcasts since 2009, including NT Live, Globe on Screen, RSC Live
from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh
Theatre Company Live, and Cheek by Jowl, and examines the impact
these broadcasts have had on branding, ideology, style and access
to Shakespeare for international audiences. Contributors from
around the world reflect on how broadcasts impact on actors'
performances, changing viewing practices, local and international
Shakespearean fan cultures and the use of social media by audience
members for whom "liveness" is increasingly tied up in the
experience economy. The book tackles vexing questions regarding the
'presentness' and 'liveness' of performance in the 21st century,
the reception of Shakespeare in a globally-connected environment,
the challenges of sustaining an audience for stage Shakespeare, and
the ideological implications of consuming theatre on screen. It
will be crucial reading for scholars of the 'live' theatre
broadcast, and enormously helpful for scholars of Shakespeare on
screen and in performance more broadly.
While film adaptations of Shakespeare's plays captured the popular
imagination at the turn of the last century, independent filmmakers
began to adapt the plays of Shakespeare's contemporaries. The roots
of their films in European avant-garde cinema and the plays'
politically subversive, sexually transgressive and violent subject
matter challenge Shakespeare's cultural dominance and the
conventions of mainstream cinema. In Screening Early Modern Drama,
Pascale Aebischer shows how director Derek Jarman constructed an
alternative, dissident approach to filming literary heritage in his
'queer' Caravaggio and Edward II, providing models for subsequent
filmmakers such as Mike Figgis, Peter Greenaway, Alex Cox and Sarah
Harding. Aebischer explains how the advent of digital video has led
to an explosion in low-budget screen versions of early modern
drama. The only comprehensive analysis of early modern drama on
screen to date, this groundbreaking study also includes an
extensive annotated filmography listing forty-eight surviving
adaptations.
While much attention has been devoted to performances of
Shakespeare's plays today, little has been focused on modern
productions of the plays of his contemporaries, such as Marlowe,
Webster and Jonson. Performing Early Modern Drama Today offers an
overview of early modern performance, featuring chapters by
academics, teachers and practitioners, incorporating a variety of
approaches. The book examines modern performances in both Britain
and America and includes interviews with influential directors,
close analysis of particular stage and screen adaptations and
detailed appendices of professional and amateur productions.
Chapters examine intellectual and practical opportunities to
analyse what is at stake when the plays of Shakespeare's
contemporaries are performed by ours. Whether experimenting with
original performance practices or contemporary theatrical and
cinematic ones, productions of early modern drama offer an
inspiring, sometimes unusual, always interesting perspective on the
plays they interpret for modern audiences.
This study looks at the violation of bodies in Shakespeare's
tragedies, especially as revealed (or concealed) in performance on
stage and screen. Pascale Aebischer discusses stage and screen
performances of Titus Andronicus, Hamlet, Othello and King Lear
with a view to showing how bodies which are virtually absent from
both playtexts and critical discourse (due to silence, disability,
marginalisation, racial otherness or death) can be prominent in
performance, where their representation reflects the cultural and
political climate of the production. Aebischer focuses on post-1980
Royal Shakespeare Company and Royal National Theatre productions
but also covers film adaptations and landmark productions from the
nineteenth century onwards. Her book will interest scholars and
students of Shakespeare, gender, performance and cultural studies.
This study looks at the violation of bodies in Shakespeare's
tragedies, especially as revealed (or concealed) in performance on
stage and screen. Pascale Aebischer discusses stage and screen
performances of Titus Andronicus, Hamlet, Othello and King Lear
with a view to showing how bodies which are virtually absent from
both playtexts and critical discourse (due to silence, disability,
marginalisation, racial otherness or death) can be prominent in
performance, where their representation reflects the cultural and
political climate of the production. Aebischer focuses on post-1980
Royal Shakespeare Company and Royal National Theatre productions
but also covers film adaptations and landmark productions from the
nineteenth century onwards. Her book will interest scholars and
students of Shakespeare, gender, performance and cultural studies.
While much attention has been devoted to performances of
Shakespeare's plays today, little has been focused on modern
productions of the plays of his contemporaries, such as Marlowe,
Webster and Jonson. Performing Early Modern Drama Today offers an
overview of early modern performance, featuring chapters by
academics, teachers and practitioners, incorporating a variety of
approaches. The book examines modern performances in both Britain
and America and includes interviews with influential directors,
close analysis of particular stage and screen adaptations and
detailed appendices of professional and amateur productions.
Chapters examine intellectual and practical opportunities to
analyse what is at stake when the plays of Shakespeare's
contemporaries are performed by ours. Whether experimenting with
original performance practices or contemporary theatrical and
cinematic ones, productions of early modern drama offer an
inspiring, sometimes unusual, always interesting perspective on the
plays they interpret for modern audiences.
While film adaptations of Shakespeare's plays captured the popular
imagination at the turn of the last century, independent filmmakers
began to adapt the plays of Shakespeare's contemporaries. The roots
of their films in European avant-garde cinema and the plays'
politically subversive, sexuallytransgressive and violent subject
matter challenge Shakespeare's cultural dominance and the
conventions of mainstream cinema. In Screening Early Modern Drama,
Pascale Aebischer shows how director Derek Jarman constructed an
alternative, dissident, approach to filming literary heritage in
his 'queer' Caravaggio and Edward II, providing models for
subsequent filmmakers such as Mike Figgis, Peter Greenaway, Alex
Cox and Sarah Harding. Aebischer explains how the advent of digital
video has led to an explosion in low-budget screen versions of
early modern drama. The only comprehensive analysis of early modern
drama on screen to date, this groundbreaking study also includes an
extensive annotated filmography listing forty-eight surviving
adaptations.
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