Reenacting Shakespeare in the Shakespeare Aftermath: The Intermedial Turn and Turn to Embodiment

ISBN-13: 9781137404817 / Angielski / Twarda / 2019 / 343 str.

Thomas Cartelli

Spis treści

PART 1: INTRODUCTION

Chapter 1: Reenacting Shakespeare in the Shakespeare Aftermath

1.1) Mapping the Terrain

1.2) Points of Departure

1.3) Excess, Exhaustion, Reenactment

1.4) Experiment, Exception, Avant-Garde

1.5) Case Study: Shakespeare through the Lookingglass

 

Chapter 2: The Intermedial Turn & Turn to Embodiment

            2.1) The Intermedial Turn

2.2) The Turn to Embodiment

2.3) Case Study: The Wooster Group Meets the RSC at the Swan

            2.4 ) A Brief Postdramatic Postscript

 

PART 2: GHOSTS OF HISTORY

Chapter 3:  Ghosts of History: Edward Bond’s Lear & Bingo, Heiner Müller’s

Hamletmachine

            3.1) Ghosts of a Dead Religion

            3.2) The Writing on the Wall

            3.3) “Was anything done”?

            3.4) “The script has been lost”

 

Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus,

Forget Hamlet & Haider

4.1) Prelude: Anatomie Titus

4.2  Forgetting Hamlet 

            4.3) Building a Better Mousetrap

            4.4) States of Exception

 

Chapter 5: Peter Greenaway’s Montage of Attractions: Prospero’s Books and the

Paratextual Imagination

            5.1) Genealogies

            5.2) A Montage of Attractions

            5.3) Animated Displays

            5.4) The Virtual Future

 

PART 3: GHOSTS OF THE MACHINE

Chapter 6: Channeling the Ghosts: the Wooster Group’s Remediation of the 1964

Electronovision Hamlet

            6.1) The Tenth Age of Shakespeare

            6.2) “The peculiar intensity and nerves of this”

            6.3)  Channeling the Ghosts

            6.4) “The media’s the thing”

            6.5) “The best in this kind”

 

Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman

Tragedies & the Problem of Spectatorship

            7.1) The Problem & Politics of Spectacle

            7.2) High-Tech Shakespeare

7.3) Van Hove’s Mediatized Globe

7.4) The Problem of Spectatorship

            7.5) The Return of the Real

 

Chapter 8: Disassembly, Meaning-Making & Montage in Annie Dorsen’s A Piece of

Work and Péter Lichter and Bori Máté’s The Rub

            8.1) Machine Dreams

8.2) Disassembly, Disintegration & Serial Reproduction

8.3) Meaning-Making & Montage

8.4) The Cinematic Machine

8.5) Theater by other means

 

Chapter 9: CODA: Mixed Reality: the Virtual Future & Return to Embodiment

            9.1) The Virtual Future

            9.2) Return to Embodiment

            9.3) Mixed Reality

O autorze

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). 

Blurb

In the Shakespeare aftermath—where all things Shakespearean are available for reassembly and reenactment—experimental 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 embodiment—in more diverse forms than ever before—continues to exert expressive force in Shakespearean reproduction’s turning world.