Skip to main content

EN920 Shakespeare in Performance

 Shakespeare and Performance: Reading, Viewing, Re-viewing

Taught: Autumn Term 2017, Wednesdays 16:00 - 18:00 (H501)

Stephen Purcell and Paul Prescott

Shakespeare in Performance in Autumn Term 2017 will focus on A Midsummer Night's Dream and Coriolanus on stage and on film. Initially, students will conduct a close reading of the texts for performance: what challenges does Shakespeare offer actors, directors, designers in these plays? Where do these plays fit into the large scheme of his work? How do we read for performance? Then, picking up Jonathan Miller's enabling notion of 'subsequent performance', and engaging with the idea that Shakespeare doesn't 'mean' until he is performed, students will encounter a number of 'subsequent' productions and adaptations, re-performing versions of Shakespeare's scripts, make different meanings for different audiences. The module will ask: What is a performance record? What is a performance archive? What role (historic, contemporary) does the review play in remembering performance? What about newer technologies -- the transmission of stage productions by video, for instance, or fixed camera captures of live performance: what kind of record does such transmission constitute? Critical reading along the way will both historicise and theorise performance studies and will give students models for writing performance studies. A hands-on reviewer's workshop will be conducted. Students on this module will be expected to attend theatre performances and film screenings. They will spend two full days in the performance archives of the Shakespeare Birthplace Trust in Stratford upon Avon: they are therefore advised to keep their Fridays clear for archival research. 

 

  SHAKESPEARE IN PERFORMANCE THEORY AND PRACTICE  

A reference list

 

Aston, Elaine and George Savona, Theatre as Sign-System: A Semiotics of Text and Performance, London: Routledge, 1991.

Barish, Jonas, “Shakespeare in the Study; Shakespeare on the Stage” Theatre Journal 40, (1988) pp 33-47

Barker, Francis, The Tremulous Private Body: essays on Subjection, London and New York: Methuen, 1984.

Bartholomeusz, Dennis, Macbeth and the Players, London: Cambridge University Press, 1969

Bartholomeusz, Dennis, “The Winter’s Tale” in Performance in England and America, 1611-1976, Cambridge: Cambridge University Press, 1982

Barton, John, Playing Shakespeare, London: Methuen, 1984

Beauman, Sally, The Royal Shakespeare Company: A History of Ten Decades, Oxford: Oxford University Press, 1982

Beckerman, Bernard, ‘The Flowers of Fancy’, The Jerks of Invention, or, Directorial Approaches to Shakespeare’. In Leech, Clifford and John Margeson, eds., Shakespeare 1971, Toronto: University of Toronto Press, 1971: pp 200-214

Beckerman, Bernard, Dynamics of Drama: Theory and Method of Analysis, New York: Knopf, 1970

Beckerman, Bernard, “Theatrical Perception.” Theatre Research International, n.s. 4 (1979): PP 157-171

Berger, Harry, Imaginary Audition: Shakespeare on Stage and Page, Berkeley: University of California Press, 1989

Berger, Harry, “Text against Performance in Shakespeare: the example of Macbeth” The Power of Forms in the English Renaissance, ed. Stephen Greenblatt, Norman: University of Oklahoma Press, 1982, pp 49-81

Berry, Ralph, On Directing Shakespeare: Interviews with Contemporary Directors, New York: Barnes and Noble, 1977

Berry, Ralph, Shakespeare and the Awareness of the Audience, New York: St. Martin’s, 1995

Blau, Herbert, The Audience, Baltimore: John Hopkins University Press, 1990

Brewer, Maria Minich, “Performing Theory”, Theatre Journal 37 (March 1985): pp 13-30

Brockbank, Philip, ed., Players of Shakespeare: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company, Cambridge: Cambridge University Press, 1985

Brook, Peter, The Empty Space, New York: Atheneum, 1968

Brown, John Russell, ‘Theatre Research and the Criticism of Shakespeare and His Contemporaries’. In his Shakespeare’s Plays in Performance (penguin, 1969): pp 237-252 and 259-260

Brown, John Russell, Free Shakespeare, London: Heinemann Educational, 1974

Buchman, Lorne M., Still in Movement: Shakespeare on Screen, Oxford: Oxford University Press, 1991

Bulman, James C. and H.R. Coursen, eds., Shakespeare on Television, Hanover: University Press of New England, 1988

Burns, Edward, Acting and Being on the Pre-Modern Stage, New York: St. Martin’s Press, 1990

Carlson, Marvin, “The Iconic Stage.” Journal of Dramatic Theory and Criticism 3:2 (1989): pp 3-18

Carlson, Marvin, “Theatre Audiences and the Reading of Performance.” Interpreting the Theatrical Past. Ed. Thomas Postlewait and Bruce A. McConachie. Iowa City: University of Iowa Press, 1989 pp 82-98

Coursen, H.R., Shakespearean Performance as Interpretation, Newark: University of Delaware Press, 1992

Crowl, Samuel, Shakespeare Observed: Studies in Performance on Stage and Screen, Athens: Ohio University Press, 1992

David, Richard, Shakespeare in the Theatre Cambridge: Cambridge University Press, 1978

Davies, Anthony, Filming Shakespeare’s Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa, Cambridge, 1988: pp 5-166, 188-193 and 196-197

Dawson, Anthony B., “Measure for Measure, New Historicism, and Theatrical Power.” Shakespeare Quarterly 39:3 (1988): pp 328-341

Dawson, Anthony B., “The Impasse Over the Stage.” English Literary Renaissance 21 (1991): pp 309-327

Dessen, Alan C., Elizabethan Stage Convention and Modern Interpreters, Cambridge: Cambridge University Press, 1984

Donaldson, Peter S., “Olivier, Hamlet and Freud.” Cinema Journal 26:4 (1987): pp 22-48

Donaldson, Peter, S., Shakespearean Films/Shakespearean Directors, Winchester: Unwin Press, 1990

Elam, Keir, The Semiotics of Theatre and Drama, London: Methuen, 1981

Esslin, Martin, The Field of Drama: How the Signs of Drama Create Meaning on Stage and Screen, London: Methuen, 1987

Feral, Josette, “Performance and Theatricality: The Subject Demystified.” Modern Drama 25 (1982): pp 171-181

George, David, “On Ambiguity: Towards a Post-Modern Performance Theory.” Theatre Research International 14 (Spring 1989): pp 71-85

Goldman, Michael, Acting and Action in Shakespearean Tragedy, Princeton: Princeton University Press, 1985

Goldman, Michael, The Actor’s Freedom: Toward a Theory of Drama, New York: Viking Press, 1975

Greenblatt, Stephen, ed., Representing the English Renaissance, Berkeley: University of California Press, 1988

Greenblatt, Stephen, ed., Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England, Berkeley: University of California Press, 1988

Greenblatt, Stephen, ed., The Power of Forms in the English Renaissance, Norman, Okla., 1982

Gurr, Andrew, Playgoing in Shakespeare’s London, Cambridge: Cambridge University Press, 1987

Halio, Jay L., Understanding Shakespeare’s Plays in Performance, Manchester: Manchester University Press, 1988

Hallet, Charles and Elaine, Analyzing Shakespeare’s Action: Scene Versus Sequence, Cambridge: Cambridge University Press, 1991

Hapgood, Robert, Shakespeare the Theatre-Poet, Oxford, Clarendon, 1988

Hardison, O.B., “Speaking the Speech.” Shakespeare Quarterly 34 (1983): pp 133-146

Hartman, Geoffrey and Patricia Parker, Shakespeare and the Question of Theory, London: Methuen, 1985

Hattaway, Michael J., Elizabethan Popular Theatre: Plays in Performance, London: Routledge and Kegan Paul, 1982

Hodgdon, Barbara, “Absent Bodies, Present Voices; Performance Work and the Close of Romeo and Juliet’s ‘Golden Story’.” Theatre Journal 41 (1989): pp 341-359

Hodgdon, Barbara, “Rehearsal Process as Critical Practice: John Barton’s 1978 Love’s Labour’s LostTheatre History Studies 8 (1988): pp 11-34

Hodgson, Barbara, “He Do Cressida in Different Voices.” English Literary Renaissance 20.2 (1990): pp 254-286

Hodgson, Barbara, “Parallel Practices, or the Un-Necessary Difference.” Kenyon Review n.s. 7 (Summer, 1985): pp 57-65

Holderness, Graham, ‘Radical potentiality and institutional closure: Shakespeare in film and television’. In Dollimore, Jonathan and Alan Sinfield, eds., Political Shakespeare, Manchester University Press, 1985: pp182-201

Holland, Peter, “Resources of Characterization in Othello” Shakespeare Survey 41 (1989): pp119-132

Honigmann, E.A.J., Shakespeare: Seven Tragedies: the Dramatist’s Manipulation of Response. New York: Barnes and Noble, 1976

Howard, Jean E., Shakespeare’s Art of Orchestration: Stage Technique and Audience Response. Urbana: University of Illinois Press, 1984

Jackson, Russell and Robert Smallwood, eds., Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, 1988

Jorgens, Jack, Shakespeare on Film. Bloomington: Indiana University Press, 1977

Kastan, David and Peter Stallybrass, Staging the Renaissance. London: Routledge, 1991

Kernan, Alvin, “Shakespeare’s Stage Audiences: The Playwright’s Reflections and Control of Audience Response.” Shakespeare’s Craft, ed., Philip H. Highfill, Jr., Carbondale: Southern Illinois University Press, 1982: pp 138-155

Kott, Jan, Shakespeare, Our Contemporary, London: Methuen, 1964

Kowzan, Tadeusz, “The Sign in the Theatre: An Introduction to the Semiology of the Art of the Spectacle.” Trans. Simon Pleasance. Diogenes 61 (1968): pp 52-80

Levenson, Jill L., ‘The Recovery of the Elizabethan Stage’. In G.R. Hibbard, ed., The Elizabethan Theatre IX, P.D.Meany, 1981: pp 205-229

Levin, Richard, “Performance Critics vs. Close Readers in the Study of English Renaissance Drama.” Modern Language Review 81 (1986): pp 545-559

Lowen, Tirzah, Peter Hall Directs “Antony and Cleopatra”, London: Methuen Drama, 1990

Mann, David, The Elizabethan Player, London: Routledge, 1991

McGuire, Philip C., Speechless Dialect: Shakespeare’s Open Silences, Berkeley: University of California Press, 1985

McLuskie, Kate, Renaissance Dramatists, Atlantic Highlands: Humanities Press, 1989

Mullaney, Steven, The Place of the Stage, Chicago: University of Chicago Press, 1988

Parker, Patricia and Geoffrey Hartman, Shakespeare and the Question of Theory, London: Methuen, 1985

Pavis, Patrice, “Reflections on the Notation of Theatrical performance.” Languages of the Stage: Essays in the Semiology of Theatre, New York: Performing Arts Journal Publications, 1982

Pavis, Patrice, Languages of the Stage, New York: Performing Arts Journal Publications, 1982

Postlewait, Thomas and Bruce A. McConachie, Interpreting the Theatrical Past, Iowa City: University of Iowa Press, 1989

Rothwell, Kenneth S. and Annabelle Melzer, Shakespeare on Screen: An International Filmography and Videography, New York: Neal-Schuman, 1990

Rutter, Carol C., Clamorous Voices: Shakespeare’s Women Today, New York: Routledge, 1989

Serpieri, Alessandro, “Reading the Signs: Towards a Semiotics of Shakespearean Drama.” Trans. Keir Elam, Alternative Shakespeares, ed., John Drakakis, London: Methuen, 1985: pp 119-143

Sinfield, Alan, ‘Royal Shakespeare: theatre and the making ideology’. In Dollimore, Jonathan and Alan Sinfield, eds., Political Shakespeare, Manchester University Press, 1985: pp158-181

Slater, Ann Pasternak, Shakespeare the Director, Noble, 1982

Styan, J.L., “The Mystery of the Play Experience: Quince’s Questiona.” Performing Texts. ed., Michael Issacharoff and Robin F. Jones, Philadelphia: University of Pennsylvania Press, 1988: pp 9-26

Styan, J.L., The Shakespeare Revolution (Cambridge) The Riverside Shakespeare, ed., G. Blakemore Evans (Houghton Mifflin)

Styan, J.L., The Shakespeare Revoltuion: Criticism and Performance in the Twentieth Century, Cambridge: Cambridge University Press, 1977

Thompson, Marvin and Ruth, eds., Shakespeare and the Sense of Performance: Essays in the Tradition of Performance Criticism in Honor of Bernard Beckerman, Newark: University of Delaware Press, 1989

Ubersfeld, Anne, “The Pleasure of the Spectator.” Modern Drama 25 (1982): pp 127-139

Wardle, Irving, Theatre Criticism, London: Routledge, 1982

Weimann, Robert, Shakespeare and the Popular Tradition in the Theatre, ed., Robert Scwartz, Baltimore: John Hopkins University Press, 1978

Wells, Stanley, Royal Shakespeare: Four Major Productions at Stratford-upon-Avon, Manchester: Manchester University Press, 1977

Willis, Susan, The BBC Shakespeare Plays: Making the Televised Canon, Chapel Hill: University of North Carolina Press, 1991

Worthen, W.B., ‘Deeper Meanings and Theatrical Technique: The Rhetoric of Performance Criticism’. Shakespeare Quarterly 40.4 (Winter 1989): pp 440-445

Worthern, William B., The Idea of the Actor: Drama and the Ethics of Performance, Princeton: Princeton University Press, 1984

Yachnin, Paul, “The Powerless Theatre.” English Literary Renaissance 21.1 (1991): pp 49-74