Shakespeare and the 'Live' Theatre Broadcast Experience

Pascale Aebischer is Professor of Shakespeare and Early Modern Performance Studies at the University of Exeter. She specialises in the history of the performance of early modern drama (including Shakespeare), with an emphasis on 1580s-1700 and 1980s-present. She has a particular interest in bodies and performance technologies (from candlelight through social media to 'live' theatre broadcast), as well as in the connection between the reconstruction of early modern playhouses and urban regeneration. These interests are reflected in her teaching, which focuses on early modern - Restoration theatrical cultures and performance practices, Shakespeare, and present-day performance on stages and screens.Susanne Greenhalgh is currently Principal Lecturer in Drama, Theatre and Performance Studies at the University of Roehampton, UK. Her current research interests centre on reception studies and the relationship between theatre and screen media, especially in relation to Shakespeare's circulation, adaptation and citation in different periods and settings, including the home, theatre and mass media.Laurie Osborne, is Distinguished Professor of Humanities at Colby College, USA. She teaches Shakespeare, film theory, literary theory, adaptation studies and composition. Her most recent scholarship focuses on "Shakespeare and Popular Culture."

A needed companion…Thanks to their wide dissemination, broadcasts have become the go-to example of Shakespeare in performance, and yet they constitute a deed without a name, stranded between the immediacy of theatrical liveness and the editorial apparatus of cinema. Essays address this uncertain form from one of four positions…the result is a wide-ranging and incisive study that is as attentive to ‘deformance’ as it is to form.

• Illustrations viiiList of Contributors ixAcknowledgements xNote on the text xiList of Abbreviations xiiIntroduction 1Pascale Aebischer and Susanne GreenhalghPart One: Wide Angle1 The Remains of the Stage: Revivifying ShakespeareanTheatre on Screen, 1964–2016 19Susanne Greenhalgh2 Shakespeare’s New Marketplace: the Places of EventCinema 41Susan Bennett3 The Audience is Present: Aliveness, Social Media, and theTheatre Broadcast Experience 59Erin Sullivan, University of Birmingham, UK4 Understanding New Encounters with Shakespeare: HybridMedia and Emerging Audience Behaviours 77Rachael NicholasPart Two: In the Theatre5 A View from the Stage: Interviews with Performers 95Beth Sharrock6 A View from the Stalls: The Audience’s Experience in theTheatre During the RSC Live from Stratford-upon-AvonBroadcasts 103Julie RabyPart Three: Close-Ups7 South Bank Shakespeare Goes Global: Broadcasting fromShakespeare’s Globe and the National Theatre 113Pascale Aebischer8 The Stratford Festival of Canada: Mental Tricks andArchival Documents in the Age of NTLive 133Margaret Jane Kidnie9 Talawa and Black Theatre Live: ‘Creating the Ira AldridgesThat Are Remembered’ – Live Theatre Broadcast and theHistorical Record 147Jami Rogers10 Cheek by Jowl: Reframing Complicity in Web-Streams ofMeasure for Measure 161Peter KirwanPart Four: Reaction Shots11 The Curious Incident of Shakespeare Fans in NTLive:Public Screenings and Fan Culture in Japan 177Kitamura Sae12 Shakespeare and the Theatre Broadcast Experience: AView from Hong Kong 185Michael Ingham13 Very Like a Film: Hamlet Live in Bologna 193Keir Elam14 Shakespeare at a Theatre Near You: Student Engagementin Northeast Ohio 199Ann M. Martinez15 Shakespeare from the House of Molière:The Comédie-Française/Pathé Live Roméo etJuliette (2016) 207Pascale AebischerEpilogue: Revisiting Liveness 215Laurie E. OsborneAppendix: Digital Theatre Broadcasts of Shakespeare,2003–17 227Rachael NicholasIndex 243