"A spouse to Shakespeare and Performance" presents a cutting-edge engagement with the quickly constructing box of Shakespeare functionality stories. Redraws the limits of Shakespeare functionality reviews. Considers functionality in more than a few media, together with in print, within the lecture room, within the theatre, in movie, on tv and video, in multimedia and electronic varieties. Introduces vital phrases and modern parts of enquiry in Shakespeare and function. increases questions on the dynamic interaction among Shakespearean writing and the practices of latest functionality and function reports. Written by means of a world workforce of significant students, lecturers, theatre makers.
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Extra resources for A Companion to Shakespeare and Performance
There is something curiously reverential about most people’s encounter with the reconstructed Globe, even when that encounter is framed through the comedies, or the sometimes dreary measurements common to theatre history. 2005 11:18pm Peggy Phelan perform; it is supplemented by the sense that there is something wondrous about living history itself. Straddling two historical moments, the reconstructed Globe seems in this sense a vividly theatrical space, a place that relies on a double sense of ground.
Cordelia’s ‘‘nothing’’ flattens the structure of the family, and since this is a political family, the subsequent upheaval disrupts the political and geographical boundaries of England (Gillies 2001, Brayton 2003). This is another way of saying that love, and its inevitable misfires, have large consequences. 255–6) and it is from France that Cordelia finds a different perspective on the divisions within her father’s kingdom. The voluminous, although not entirely convincing, critical literature that reads King Lear as a comment on the Unionist doctrine of James I traces the over-determined similarities between James and Lear (Halpern 1991, Dodd 1999, Holbrook 2000), but it seems to me nonetheless that Lear is primarily a play about collapsing too swiftly the distinctive economies of love and property.
Garber is alluding here to Freud’s Interpretation of Dreams, and more particularly to Freud’s own dream of finding the navel of the unconscious in dreams themselves. Freud concluded that dreams are expressions of wish fulfillments, and that the unconscious creates dreams to dramatize the consequences of these wishes and their repressions, these wishes and their realizations. Freud locates the navel of the collective unconscious in the drama of Oedipus. While theatre and psychoanalysis are deeply interwoven, thus far, the immense literature devoted to these affinities has been dedicated to describing the drama of the unconscious and the psychoanalytic situation of characters and plots.
A Companion to Shakespeare and Performance