The Arden Research Handbook of Shakespeare and Contemporary Performance

Peter Kirwan is Associate Professor of Early Modern Drama at the University of Nottingham, UK. His books include Shakespeare and the Idea of Apocrypha (2015) and the co-edited collections Shakespeare and the Digital World (with Christie Carson, 2014) and Canonising Shakespeare: Stationers and the Book Trade, 1640-1740 (with Emma Depledge, 2017). He is Performance Reviews Editor for Shakespeare Bulletin, Book Reviews Editor for Early Theatre and Editions Reviewer for Shakespeare Survey. Kathryn Prince is Vice Dean of the Faculty of Arts and Associate Professor of Theatre at the University of Ottawa, Canada, as well as the General Editor of Shakespeare Bulletin. Her recent books include Performing Early Modern Drama Today (with Pascale Aebischer, 2012), History, Memory, Performance (with David Dean and Yana Meerzon, 2014), and Shakespeare and Canada: Remembrance of Ourselves (with Irena Makaryk, 2016).

List of Illustrations
Notes on Contributors
Series Preface
Acknowledgements

Introduction
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)

Part 1: Research Methods and Problems
1.1 The Archive: Show Reporting Shakespeare
Rob Conkie (La Trobe University in Melbourne, Australia)
1.2 The Audience: Receiving and Remaking Experience
Margaret Jane Kidnie (University of Western Ontario, Canada)
1.3 The Event: Festival Shakespeare
Paul Prescott (University of Warwick, UK)

Part 2: Current Research and Issues
2.1 Original Practices: Old Ways and New Directions
Sarah Dustagheer (University of Kent, UK)
2.2 Space: Locus and Platea in Modern Shakespearean Performance
Stephen Purcell (University of Warwick, UK)
2.3 Economics: Shakespeare Performing Cities
Susan Bennett (University of Calgary, Canada)
2.4 Networks: Researching Global Shakespeare
Sonia Massai (King's College London, UK)
2.5 Global Mediations: Performing Shakespeare in the Age of Global and Digital Cultures
Alexa Alice Joubin (George Washington University, USA)
2.6 Canon: Framing Not-Shakespeare Performance
Eoin Price (Swansea University, UK)
2.7 Pedagogy: Decolonizing Shakespeare on Stage
Andrew James Hartley (UNC Charlotte, USA), Kaja Dunn (UNC Charlotte, USA) and Christopher Berry (Black Theatre Network & Black Arts Institute)
2.8 Ethics: Practising Diversity at the Stratford Festival of Canada: Shakespeare, Performance and Ethics in the Twenty-First Century
Erin Julian (University of Roehampton London/King's College London, UK) and Kim Solga (Western University, Canada)
2.9 Bodies: Gender, Race, Ability and the Shakespearean Stage
Roberta Barker (Dalhousie University, Canada)
2.10 Technology: The Desire Called Cinema: Materiality, Biopolitics, and Post-Anthropocentric Feminism in Julie Taymor’s The Tempest
Courtney Lehmann (University of the Pacific, USA)

Part 3: New Directions in Shakespeare and Performance
Curated by C. K. Ash (Independent researcher) and Nora J. Williams (University of Essex, UK)
3.1 Anne G. Morgan
3.2 Jatinder Verma
3.3 Judith Greenwood
3.4 Dan Bray and Colleen MacIsaac
3.5 Migdalia Cruz
3.6 Lisa Wolpe
3.7 Julia Nish-Lapidus and James Wallis
3.8 Ravi Jain
3.9 Emma Whipday
3.10 Wole Oguntokun
3.11 Vishal Bhardwaj
3.12 Adam Cunis
3.13 James Loehlin
3.14 Denice Hicks
3.15 @Shakespeare
3.16 Jung-ung Yang

Part 4: Resources for Researchers
4.1 A Fifty-Year History of Performance Criticism
James C. Bulman (Allegheny College, USA)
4.2 A-Z of Key Terms
Bríd Phillips (University of Western Australia, Australia), with Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.3 Annotated Bibliography
Karin Brown (University of Birmingham, UK), Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)
4.4 Resources
Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada)

Index