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Shakespeare, Spectatorship and the Technologies of Performance

Buch | Hardcover
256 Seiten
2020
Cambridge University Press (Verlag)
978-1-108-42048-8 (ISBN)
109,95 inkl. MwSt
Rapid changes in performance technologies are changing how we view early modern drama. The book explores how candlelight and architecture make each spectator's viewing experience unique; how digital media alter viewers' interactions with live performances; and how theatre broadcasts fundamentally affect the reception of Shakespeare.
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.

Pascale Aebischer is Professor of Shakespeare and Early Modern Performance Studies at the University of Exeter. She is the author of Shakespeare's Violated Bodies (2004), Jacobean Drama (2010), and Screening Early Modern Drama (2013). Formerly the editor of Shakespeare Bulletin, she has also co-edited several collections of essays, including Performing Early Modern Drama Today (with Kathryn Prince, 2012; Choice Outstanding Academic Title winner 2013), and Shakespeare and the 'Live' Theatre Broadcast Experience (with Susanne Greenhalgh and Laurie Osborne, 2018).

Introduction. Shakespeare, spectatorship and technologies of performance; Part I. Candlelight and Architecture at the Sam Wanamaker Playhouse: 1. Dominic Dromgoole's The Changeling (2015): social division and anamorphic vision; 2. Dominic Dromgoole's The Tempest (2016): labour, technology and the gender of theatrical magic; Part II. Digital Technologies and Early Modern Drama at the National Theatre and the RSC: 3. Stanislavski in the closet: Joe Hill-Gibbins' Edward II (National Theatre, 2013); 4. 'Tech-enabled' theatre at the RSC: digital performance and Gregory Doran's Tempest (RSC, 2016); Part III. 'Invisible' Technology and 'Liveness' in Digital Theatre Broadcasting: 5. Hamlet in parts: Robin Lough's RSC live cinema broadcast of Simon Godwin's Hamlet (8 June 2016); 6. Offstage dynamics and the virtual public sphere in Cheek by Jowl's live stream of Measure for Measure (2015); Concluding most obscenely: offstage technophelias.

Erscheinungsdatum
Zusatzinfo Worked examples or Exercises
Verlagsort Cambridge
Sprache englisch
Maße 160 x 236 mm
Gewicht 490 g
Themenwelt Literatur Lyrik / Dramatik Dramatik / Theater
Kunst / Musik / Theater Film / TV
Geisteswissenschaften Sprach- / Literaturwissenschaft Anglistik / Amerikanistik
Geisteswissenschaften Sprach- / Literaturwissenschaft Literaturgeschichte
Geisteswissenschaften Sprach- / Literaturwissenschaft Literaturwissenschaft
ISBN-10 1-108-42048-6 / 1108420486
ISBN-13 978-1-108-42048-8 / 9781108420488
Zustand Neuware
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