This stimulating book asks how both text and performance are construed as vessels of authority, and finds that our understanding of Shakespearean performance retains a surprising sense of the possibility of being "faithful" to Shakespearean texts, and so to "Shakespeare." After an opening theoretical chapter, Worthen examines the relationship between text and performance in three activities: directing, acting, and scholarship. The book contributes to the scholarly study of acting and directing, and to the wider discourse of performance studies.
Despite the pervasive consequences of the rise of print on the practice of theatre, and on our understanding of theatre relative ... where skills are taught and transmitted not through reading and writing but through personal training; ...
This book will appeal both to the professional and academic audience in drama and performance studies, as well as to a wider audience of theatregoers interested in the relationship between writing and performance.
The Life and Complete Works of Robert Greene, edited by Alexander B. Grosart. Vol. 12. New York: Russel, 1964. Gurr, Andrew. Playgoing in Shakespeare's London. Cambridge: Cambridge University Press, 1987. Hallet, Bryce.
of Shakespearean writing that it is impossible to disentangle Shakespeare's “ singular creative agency ” from such “ derivative forms of participation ... Lope de Vega's , Shakespeare's was very different from Jonson's or Middleton's .
In a series of probing discussions, Worthen interrogates the interaction of live and mediated acting onstage, the impact of written media from the handwritten scroll to the small-screen app in acting as a technē, the work of Original ...
Like Hunter, Rylance started the opening soliloquy from upstage centre, but whereas Hunter's Richard presented himself to the audience theatrically, Rylance's began almost casually, leaning on one of the tiring house columns.
9 Dominic Cavendish, 'Young People's Shakespeare Hamlet at Claremont School Kingsbury', The Telegraph, 26 January 2010, ... Worthen, Shakespeare and the Authority of Performance, 3. Stephen Purcell, Popular Shakespeare: Simulation and ...
Reading the prologue in performed as well as printed contexts, Douglas Bruster and Robert Weimann take us beyond concepts of stability and autonomy in dramatic beginnings to reveal the crucial cultural functions performed by the prologue in ...
2 (2006): 208. 35. David Schalkwyk, Speech and Performance in Shakespeare's Sonnets and Plays (Cambridge: Cambridge University Press, 2002), 32; cf. 50f., 1 1 If., 214. M. Worthen, Shakespeare and the Authority of Performance, esp.
Freud, Gesammelte Werke 13:157; “group feeling” is “Massengefühl”. 33. Freud, “Universal Tendency,” 180. ... James Strachey, inThe Standard Edition of the Complete Psychological Worksof SigmundFreud, 18:221–34 (orig.pub. 1922),39. 36.