How are unwarranted dislikes and prejudices portrayed in the works of Shakespeare and to what extent does Shakespeare differ from his contemporaries in their portrayal?
How are unwarranted dislikes and prejudices portrayed in the works of Shakespeare and to what extent does Shakespeare differ from his contemporaries in their portrayal?
Through an examination of a range of performance works ranging from Jean Cocteau's ballet The Eiffel Tower Wedding Party (1921) to Julie Taymor's monumental production of Spider-Man: Turn off the Dark (2010) and Mexican playwright Isaac Gomez's La Ruta(2018), Staging Technology asks what becomes visible when we encounter plays, operas, and musicals that are themselves about fraught human/machine interfaces.
Through an examination of a range of performance works ranging from Jean Cocteau's ballet The Eiffel Tower Wedding Party (1921) to Julie Taymor's monumental production of Spider-Man: Turn off the Dark (2010) and Mexican playwright Isaac Gomez's La Ruta(2018), Staging Technology asks what becomes visible when we encounter plays, operas, and musicals that are themselves about fraught human/machine interfaces.
The Arden Research Handbook of Shakespeare and Social Justice is a wide-ranging, authoritative guide to research on Shakespeare and issues of social justice and arts activism by an international team of leading scholars, directors, arts activists, and educators.
The Arden Research Handbook of Shakespeare and Social Justice is a wide-ranging, authoritative guide to research on Shakespeare and issues of social justice and arts activism by an international team of leading scholars, directors, arts activists, and educators.
This book argues for a new way of reading tragedy that attends to how bodies in the ancient plays pivot between subject and object, person and thing, living and dead, and so serve as vehicles for confronting the edges of the human.
This book argues for a new way of reading tragedy that attends to how bodies in the ancient plays pivot between subject and object, person and thing, living and dead, and so serve as vehicles for confronting the edges of the human.
Middle Eastern American Theatre explores the burgeoning Middle Eastern American theatre movement with a focus on Arab American, Jewish American, Armenian American, Iranian American, and Turkish American theatres, playwrights, directors, and actors.
Middle Eastern American Theatre explores the burgeoning Middle Eastern American theatre movement with a focus on Arab American, Jewish American, Armenian American, Iranian American, and Turkish American theatres, playwrights, directors, and actors.
Shakespeare is at the heart of the British theatrical tradition, but the contribution of Ira Aldridge and the Shakespearean performers of African, African-Caribbean, south Asian and east Asian heritage who came after him is not widely known.
Shakespeare is at the heart of the British theatrical tradition, but the contribution of Ira Aldridge and the Shakespearean performers of African, African-Caribbean, south Asian and east Asian heritage who came after him is not widely known.
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.
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.
The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes.
The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes.
In this first biography of Griboyedov in English, Laurence Kelly paints a vivid picture of his remarkable literary and diplomatic gifts which were nevertheless overshadowed by ill-fortune and tragedy.
Like other compilations of medieval urban drama, the plays that were performed in the streets of York on the Feast of Corpus Christi from the late fourteenth century until the third quarter of the sixteenth have most frequently been discussed in the context of the devotional cultures and practices of the later Middle Ages.
Four years before the publication of the First Folio, a group of London printers and booksellers attempted to produce a "e;collected works"e; of William Shakespeare, not in an imposingly large format but as a series of more humble quarto pamphlets.
For most of the seventeenth and eighteenth centuries, classical dogma and royal censorship worked together to prevent French plays from commenting on, or even worse, reenacting current political and judicial affairs.
In the first book-length study of Annie Baker, one of the most critically acclaimed playwrights in the United States today and winner of the 2014 Pulitzer Prize, a Guggenheim Fellowship, and a MacArthur genius grant, Amy Muse analyzes Baker's plays and other work.
Among the dramatists who wrote for the professional playhouses of early modern London was a small group of writers who were neither members of the commercial theater industry writing to make a living nor aristocratic amateurs dipping their toes in theatrical waters for social or political prestige.
Shakespeare's Schoolroom places moments of considerable emotional power in Shakespeare's poetryportraits of what his contemporaries called "e;the passions"e;alongside the discursive and material practices of sixteenth-century English pedagogy.
Anyone who has paid the entry fee to visit Shakespeare's Birthplace on Henley Street in Stratford-upon-Avonand there are some 700,000 a year who do somight be forgiven for taking the authenticity of the building for granted.
Sexual types on the early modern stage are at once strange and familiar, associated with a range of "e;unnatural"e; or "e;monstrous"e; sexual and gender practices, yet familiar because readily identifiable as types: recognizable figures of literary imagination and social fantasy.
In What You Will Kathryn Schwarz traces a curious pattern in sixteenth- and seventeenth-century representations of femininity: women pose a threat when they conform too willingly to social conventions.
Arguing that the commercial stage depended on the unprecedented demographic growth and commercial vibrancy of London to fuel its own development, Jean E.
A lively and engaging guide to vital habits of mind that can help you think more deeply, write more effectively, and learn more joyfullyHow to Think like Shakespeare is a brilliantly fun exploration of the craft of thoughtone that demonstrates what we've lost in education today, and how we might begin to recover it.
An international collection of the traditional tales that inspired some of Shakespeare's greatest playsShakespeare knew a good story when he heard one, and he wasn't afraid to borrow from what he heard or read, especially traditional folktales.
From one of our most eminent and accessible literary critics, a groundbreaking account of how the Greek and Roman classics forged Shakespeare's imaginationBen Jonson famously accused Shakespeare of having "e;small Latin and less Greek.
For close to two hundred years, the ideas of Shakespeare have inspired incredible work in the literature, fiction, theater, and cinema of China, Taiwan, and Hong Kong.
