Reenacting Shakespeare in the Shakespeare Aftermath

In the Shakespeare aftermathwhere all things Shakespearean are available for reassembly and reenactmentexperimental transactions with Shakespeare become consequential events in their own right, informed by technologies of performance and display that defy conventional staging and filmic practices. Reenactment signifies here both an undoing and a redoing, above all a doing differently of what otherwise continues to be enacted as the same. Rooted in the modernist avant-garde, this revisionary approach to models of the past is advanced by theater artists and filmmakers whose number includes Romeo Castellucci, Annie Dorsen, Peter Greenaway, Thomas Ostermeier, Ivo van Hove, and New York's Wooster Group, among others. Although the intermedial turn taken by such artists heralds a virtual future, this book demonstrates that embodimentin more diverse forms than ever beforecontinues to exert expressive force in Shakespearean reproduction's turning world.

Analyzes contemporary Shakespearean reenactments Considers the ways in which new media technology affects styles of Shakespearean stage and filmic production Bridges gaps between Shakespeare in performance scholarship, performance studies scholarship, and global Shakespeare

Autorentext

Thomas Cartelli is Professor of English & Film Studies at Muhlenberg College, USA. He is author of Marlowe, Shakespeare, and the Economy of Theatrical Experience (1991), Repositioning Shakespeare (1999), and co-author (with Katherine Rowe) of New Wave Shakespeare on Screen (2007). He has also edited The Norton Critical Richard III (2009).

Inhalt

Chapter 1: Reenacting Shakespeare in the Shakespeare Aftermath.- Chapter 2: The Intermedial Turn & Turn to Embodiment.- Chapter 3: Ghosts of History: Edward Bond's Lear & Bingo, Heiner Müller's Hamletmachine.- Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus, Forget Hamlet & Haider.- Chapter 5: Peter Greenaway's Montage of Attractions: Prospero's Books and the Paratextual Imagination.- Chapter 6: Channeling the Ghosts: the Wooster Group's Remediation of the 1964 Electronovision Hamlet.- Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman Tragedies & the Problem of Spectatorship.- Chapter 8: Disassembly, Meaning-Making & Montage in Annie Dorsen's A Piece of Work and Péter Lichter and Bori Máté's The Rub.- Chapter 9: CODA: Mixed Reality: the Virtual Future & Returnto Embodiment.

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