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The ^AOxford Handbook of Shakespeare and Dance
Featuring new chapters from thirty leading scholars, The Oxford Handbook of Shakespeare and Dance examines the relationship between William Shakespeare - his life, works, afterlife - and dance.
Decolonizing the Stage
A study of post-colonial drama and theatre. It examines how dramatists from various societies have attempted to fuse the performance idioms of their traditions with the Western dramatic form, demonstrating how the dynamics of syncretic theatrical texts function in performance.
Performing Shakespeare in India
· This collection is unusual in that the essays are not written from a single perspective and instead cover aspects as diverse as socio-political issues, translation, performance, language and identity, literary analysis. · The style of all the essays is jargon-free and accessible to the lay reader. · Given the fact that the 400th anniversary of Shakespeare’s death comes up in 2016, this collection would be in the nature of both a retrospective appraisal as well as an anticipatory homage. · Its approaches are multi-disciplinary - from socio-historical analysis, to political commentary, translation studies, literary criticism and performance studies. · It will interest researchers interested in translation studies and performance studies, and literary critics.
Shakespeare’s Contested Nations
Shakespeare’s Contested Nations argues that performances of Shakespearean history at British institutional venues between 2000 and 2016 manifest a post-imperial nostalgia that fails to tell the nation’s story in ways that account for the agential impact of women and people of color, thus foreclosing promising opportunities to re-examine the nation’s multicultural past, present, and future in more intentional, self-critical, and truly progressive ways. A cluster of interconnected stage and televisual performances and adaptations of the history play canon illustrate the function that Shakespeare’s narratives of incipient "British" identities fulfill for the postcolonial United Kingdom....
To See the Wizard
To See the Wizard: Politics and the Literature of Childhood takes its central premise, as the title indicates, from L. Frank Baum’s The Wonderful Wizard of Oz. Upon their return to The Emerald City after killing the Wicked Witch of the West, the task the Wizard assigned them, Dorothy, the Tin Woodman, Scarecrow, and Lion learn that the wizard is a “humbug,” merely a man from Nebraska manipulating them and the citizens of both the Emerald City and of Oz from behind a screen. Yet they all continue to believe in the powers they know he does not have, still insisting he grant their wishes. The image of the man behind the screen—and the reader’s continued pursuit of the Wizard—is a po...
Placing Michael Neill
Honoring Shakespearean scholar Michael Neill, this eleventh issue of The Shakespearean International Yearbook assesses Neill's extraordinary body of work, employing his many analyses of place as points of departure for new critical investigations of Shakespeare and Renaissance culture. It also challenges us to think about the conception of place implicit in the "International" of the Yearbook's title.
The Dramatic Art of Athol Fugard
"Albert Wertheim's study of Fugard's plays is both extremely insightful and beautifully written... This book is aimed not only at teachers, students, scholars, and performers of Fugard but also at the person who simply loves going to see a Fugard play at the theatre." -- Nancy Topping Bazin, Eminent Scholar and Professor Emerita, Old Dominion University Athol Fugard is considered one of the most brilliant, powerful, and theatrically astute of modern dramatists. The energy and poignancy of his work have their origins in the institutionalized racism of his native South Africa, and more recently in the issues facing a new South Africa after apartheid. Albert Wertheim analyzes the form and conte...
Textual Practice
First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.
The Globe Theatre Project
This book analyzes performances at the reconstructed Globe Theatre in London between 1996 and 2004 by focusing on the new Globe's most defining characteristic: authenticity. The book addresses the question of why authenticity has become so crucial in late 20th and early 21st century Britain and what productions of the authentic Shakespeare say about contemporary identities.
