Shakespeare, Trauma and Contemporary Performance examines how
contemporary performances of Shakespeare's texts on stage and
screen engage with violent events and histories. The book attempts
to account for -- but not to rationalize -- the ongoing and
pernicious effects of various forms of violence as they have
emerged in selected contemporary performances of Shakespeare's
texts, especially as that violence relates to apartheid,
colonization, racism, homophobia and war. Through a series of
wide-ranging case studies, which are informed by debates in
Shakespeare, trauma and performance studies and developed from
extensive archival research, the book examines how performances and
their documentary traces work variously to memorialize, remember
and witness violent events and histories. In the process,
Silverstone considers the ethical and political implications of
attempts to represent trauma in performance, especially in relation
to performing, spectatorship and community formation. Ranging from
the mainstream to the fringe, key performances discussed include
Gregory Doran's Titus Andronicus (1995) for Johannesburg's Market
Theatre; Don C.Selwyn's New Zealand-made film, The Maori Merchant
of Venice (2001); Philip Osment's appropriation of The Tempest in
This Island's Mine for London's Gay Sweatshop (1988); and Nicholas
Hytner's Henry V (2003) for the National Theatre in London.
|Country of origin:
||Routledge Studies in Shakespeare
||Electronic book text
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