Artemis Preeshl – författare

Reframing Acting in the Digital Age: Nimbly Scaling Actor Training in the Academy refocuses how actors work in TV, film, and stage. In this refreshing text, Preeshl integrates original interviews with 25 theatre, film, TV, and digital media experts from leading international programs to create an essential contribution to actor training studies. These interviews cover diverse topics such as contemporary training methods, industry standards, and experiential learning, incorporating interdisciplinary recommendations from academics and professionals alike to navigate undergraduate actor training in the digital age.

Digitally native undergraduates arrive at university being well versed in the digital and technological world, but as technologically savvy as these Millenials and Generation Z are, Preeshl and her interviewees show how acting and production degree programs can reframe these competencies to enable students to acquire and transfer digital skills. This phenomenological study bridges actor training methods across media to promote ''scaling'' to update undergraduate actor training for the digital age. By applying the recommendations of these experts to curricular practices, universities may increase market share, diversity, and graduate employability.

This in-depth field study is a vital read for acting teachers, students, professional actors, and scholars within theatre and film programs.

Reframing Acting in the Digital Age: Nimbly Scaling Actor Training in the Academy refocuses how actors work in TV, film, and stage. In this refreshing text, Preeshl integrates original interviews with 25 theatre, film, TV, and digital media experts from leading international programs to create an essential contribution to actor training studies. These interviews cover diverse topics such as contemporary training methods, industry standards, and experiential learning, incorporating interdisciplinary recommendations from academics and professionals alike to navigate undergraduate actor training in the digital age.

Digitally native undergraduates arrive at university being well versed in the digital and technological world, but as technologically savvy as these Millenials and Generation Z are, Preeshl and her interviewees show how acting and production degree programs can reframe these competencies to enable students to acquire and transfer digital skills. This phenomenological study bridges actor training methods across media to promote ''scaling'' to update undergraduate actor training for the digital age. By applying the recommendations of these experts to curricular practices, universities may increase market share, diversity, and graduate employability.

This in-depth field study is a vital read for acting teachers, students, professional actors, and scholars within theatre and film programs.

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean.

Consent in intimate relationships is front and center in today’s conversations. This book re-examines the verbal and physical interactions of female-identified characters in Early Modern and contemporary cultures in Shakespeare’s Mediterranean comedies and the sources from which he derived his plays. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare’s Mediterranean plays and his probable sources sheds light on how Shakespeare’s audiences might have perceived Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare’s comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era.

Given Shakespeare’s impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare’s Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean.

Consent in intimate relationships is front and center in today’s conversations. This book re-examines the verbal and physical interactions of female-identified characters in Early Modern and contemporary cultures in Shakespeare’s Mediterranean comedies and the sources from which he derived his plays. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare’s Mediterranean plays and his probable sources sheds light on how Shakespeare’s audiences might have perceived Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare’s comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era.

Given Shakespeare’s impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare’s Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.

Consent in Shakespeare’s Classical Mediterranean fills a gap in knowledge about how female-identified, gender-fluid, and non-binary characters made choices about intimacy, engagement, and marriage in Shakespeare’s classical Mediterranean plays.

This classical sequel explores how female-identified, gender-fluid, and non-binary characters accessed agency in Shakespeare’s Mediterranean plays set in classical Troy, Athens, Thebes, Antioch, Ephesus, Mytilene, the North African Pentapolis, Tarsus, Egypt, Rome, Antium, Britain, Sardis, Philippi, Sicily, greater Bohemia, and the Balkan region. Through the lens of sources from Eastern and Western Europe, the Middle East, and the Maghrib, Shakespeare’s heroines and their supporters may have initially appeared to conform to Early Modern contexts, but the diverse backgrounds of female-identified, gender-fluid, and non-binary characters impacted the right to consent to friendship, affection, betrothal, and marriage in the classical Mediterranean. By focusing on perspective views about female-identified, gender-fluid, and non-binary characters in and around Eastern and Western Europe, the Middle East, and the Maghreb, classical realities collide with Early Modern preconceptions and misconceptions to reveal commonalities and differences in the lived experiences of female-identified and non-binary royalty, nobility, servants, enslaved peoples, matchmakers, courtesans, sex workers, madams, herbalists, tailors, and merchants.

This study will be of great interest to students and scholars in Theatre, Middle East Studies, Asian Studies, Eastern European and Eurasian Studies, African and Maghrib Studies, and Social Justice Studies.

Consent in Shakespeare’s Classical Mediterranean fills a gap in knowledge about how female-identified, gender-fluid, and non-binary characters made choices about intimacy, engagement, and marriage in Shakespeare’s classical Mediterranean plays.

This classical sequel explores how female-identified, gender-fluid, and non-binary characters accessed agency in Shakespeare’s Mediterranean plays set in classical Troy, Athens, Thebes, Antioch, Ephesus, Mytilene, the North African Pentapolis, Tarsus, Egypt, Rome, Antium, Britain, Sardis, Philippi, Sicily, greater Bohemia, and the Balkan region. Through the lens of sources from Eastern and Western Europe, the Middle East, and the Maghrib, Shakespeare’s heroines and their supporters may have initially appeared to conform to Early Modern contexts, but the diverse backgrounds of female-identified, gender-fluid, and non-binary characters impacted the right to consent to friendship, affection, betrothal, and marriage in the classical Mediterranean. By focusing on perspective views about female-identified, gender-fluid, and non-binary characters in and around Eastern and Western Europe, the Middle East, and the Maghreb, classical realities collide with Early Modern preconceptions and misconceptions to reveal commonalities and differences in the lived experiences of female-identified and non-binary royalty, nobility, servants, enslaved peoples, matchmakers, courtesans, sex workers, madams, herbalists, tailors, and merchants.

This study will be of great interest to students and scholars in Theatre, Middle East Studies, Asian Studies, Eastern European and Eurasian Studies, African and Maghrib Studies, and Social Justice Studies.

Shakespeare and Commedia dell’Arte examines the ongoing influence of commedia dell’arte on Shakespeare’s plays.

Exploring the influence of commedia dell’arte improvisation, sight gags, and wordplay on the development of Shakespeare’s plays, Artemis Preeshl blends historical research with extensive practical experience to demonstrate how these techniques might be applied when producing some of Shakespeare''s best-known works today. Each chapter focuses on a specific play, from A Midsummer Night’s Dream to The Winter’s Tale, drawing out elements of commedia dell’arte style in the playscripts and in contemporary performance.

Including contemporary directors’ notes and interviews with actors and audience members alongside Elizabethan reviews, criticism, and commentary, Shakespeare and Commedia dell’Arte presents an invaluable resource for scholars and students of Renaissance theatre.