Alternative Shakespeares, Volume 3

This quantity takes up the problem embodied in its predecessors, substitute Shakespeares and replacement Shakespeares 2, to spot and discover the recent, the altering and the greatly ‘other’ percentages for Shakespeare experiences at our specific historic moment.

Alternative Shakespeares three introduces the most powerful and such a lot cutting edge of the hot instructions rising in Shakespearean scholarship – ranging throughout functionality experiences, multimedia and textual feedback, matters of economics, technology, faith and ethics – in addition to the ‘next step’ paintings in parts similar to postcolonial and queer experiences that proceed to push the limits of the sphere. The individuals procedure every one subject with readability and accessibility in brain, allowing pupil readers to interact with severe ‘alternatives’ to verified methods of studying Shakespeare’s performs and their roles in modern culture.

The services, dedication and bold of this volume’s individuals shine via each one essay, holding the innovative side and real-world urgency which are the hallmark of different Shakespeares. This quantity is vital studying for college kids and students of Shakespeare who search an realizing of present and destiny instructions during this ever-changing field.

Contributors contain: Kate Chedgzoy, Mary Thomas Crane, Lukas Erne, Diana E. Henderson, Rui Carvalho Homem, Julia Reinhard Lupton, Willy Maley, Patricia Parker, Shankar Raman, Katherine Rowe, Robert Shaughnessy, W. B. Worthen

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Extra resources for Alternative Shakespeares, Volume 3

Sample text

What follows is a short account of what Le Roi Lear looks like if one takes a deliberately anti-exceptionalist approach to its experiments with location shooting, its long takes, and its depth of field staging—actively seeking the way theatrical effects can be recycled in cinema. Besides yielding a richer sense of a specific film, to read in this way is to expand our sense of the formal properties specific to a given medium— and to reconsider the importance of apparently residual theatrical conventions such as tableau to modern film mise en scène.

Neglected by them, he is found wandering helplessly about, and is taken to his solicitor’s office, where a meeting with his daughters is arranged. Here the eldest of his children, shamed somewhat at the position, and also touched a little by remorse, takes the poor old fellow home again, to be treated in the future with more compassion. (Bioscope 1911: viii)6 The film proceeds in ten long-take tableaux, all but one with a fixed camera. Medium shots predominate, with intra-scene cutting only to inter-titles and diegetic text (a newspaper headline, a letter).

The words carry a powerful symbolic charge that is in excess of their immediate situation, not just in relation to the play extempore, but also to the scene in which it is embedded, to Henry IV, and to the larger cycles of performed history in which they are implicated; for in this convergence of past, present and future we are presented with an absolutely crucial moment of self-fashioning, as by symbolically banishing Falstaff, Hal authors himself into autonomous subjecthood. Hal appears really “real” at this moment because his silences and his speech alike evoke depth and presence, an illusion of agency that encompasses his and our awareness of both his own freedom to act, and the inevitable restraints upon that freedom.

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