Download e-book for kindle: The Shakespeare Effect: A History of Twentieth-Century by R. Shaughnessy

February 2, 2018 | Theater | By admin | 0 Comments

By R. Shaughnessy

ISBN-10: 1349418390

ISBN-13: 9781349418398

ISBN-10: 1403913668

ISBN-13: 9781403913661

This full of life and provocative examine bargains an intensive reappraisal of a century of Shakespearean theatre. issues addressed comprise modernist Shakespearean performance's relation with psychoanalysis, the hidden gender dynamics of the open degree stream, and the appropriation of Shakespeare himself as a dramatic fiction and theatrical icon.

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This vigorous and provocative research deals an intensive reappraisal of a century of Shakespearean theatre. themes addressed contain modernist Shakespearean performance's relation with psychoanalysis, the hidden gender dynamics of the open degree flow, and the appropriation of Shakespeare himself as a dramatic fiction and theatrical icon.

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Additional info for The Shakespeare Effect: A History of Twentieth-Century Performance

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Foakes has demonstrated, the nineteenth-century cult of Hamlet originated in the Romantic vision of the Prince as a figure who ‘seemed to combine so many strong attributes with so many weak ones’, and who therefore ‘could serve as a paradigm of and excuse for ordinary people who in the normal way regard themselves as having potential, but fail to live up to their ideal of themselves, or fall short of the achievements they hope for’. 30 On the face of it, the melancholy Dane who stalked the increasingly intricate ramparts of Elsinore on the nineteenth-century stage was a secure icon of individuated interiority and masculinity, to a certain extent immune to the compromising inauthenticity of the theatrical medium precisely because he promised that he had that within which passeth show.

In a way, there was nothing new in this, since the deployment of a rhetoric of physicality in relation to Shakespeare’s text can be traced as far back as Heminges and Condell’s discrediting of the ‘diverse stolne, and surreptitious copies, maimed and deformed’, and their promotion of the Folio as the repository of works ‘cur’d, and perfect of their limbes’. Even so, there is something uniquely and revealingly Victorian about this discursive combination of the grotesque, monstrous or morally questionable textual body, mutilation and barbarism, especially when we reflect that the final term has in this historical setting a particularly imperialist loading, as the antithesis of an English civilisation whose practices of science, law and rational order are fully articulated in the poetic-philosophical system that is Dowden’s ‘Shakspere’.

Clearly, Poel was already heading for trouble on a number of counts. The debate about the relative merits of Q1 might have been a relatively arcane affair, conducted at the more rarified levels of scholarship, but Poel’s aggressive interrogation of the received image of Hamlet was tantamount to an attack upon his own era’s most cherished, but also problematic, cultural myths. A. Foakes has demonstrated, the nineteenth-century cult of Hamlet originated in the Romantic vision of the Prince as a figure who ‘seemed to combine so many strong attributes with so many weak ones’, and who therefore ‘could serve as a paradigm of and excuse for ordinary people who in the normal way regard themselves as having potential, but fail to live up to their ideal of themselves, or fall short of the achievements they hope for’.

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The Shakespeare Effect: A History of Twentieth-Century Performance by R. Shaughnessy


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