Bridget Escolme - Böcker

A highly engaging text that approaches Shakespeare as a maker of theatre, as well as a writer of literature. Leading performance critics dismantle Shakespeare's texts, identifying theatrical cues in ways which develop understanding of the underlying theatricality of Shakespeare's plays and stimulate further performances.

A highly engaging text that approaches Shakespeare as a maker of theatre, as well as a writer of literature. Leading performance critics dismantle Shakespeare's texts, identifying theatrical cues in ways which develop understanding of the underlying theatricality of Shakespeare's plays and stimulate further performances.

Laughter, Power, and the Unconscious offers paradigm-breaking insights into the psychological and sociopolitical dimensions of humour and comedy. Based on an innovative audience experiment at Shakespeare's Globe, the authors develop a revolutionary theory of humour as manic defence, challenging Freud's classic formulations while engaging with contemporary humour theories.The text explores three key domains: firstly, it establishes and evaluates the theory in comparison to Freud's work in Jokes and their Relation to the Unconscious, while positioning it within major humour frameworks; secondly, it demonstrates the theory's application to Renaissance comedy, examining characters like Malvolio from Twelfth Night alongside stock figures of cuckolds and madmen in both English theatrical traditions and commedia dell'arte; finally, it investigates the theory's broader sociopolitical relevance by analysing war-related humour and racist jokes while addressing comedy's dual capacity to both challenge and reinforce existing power structures.This volume will appeal to the scholars and students of theatre and performance studies, psychology, literary theory and cultural studies interested in the sociopolitical implications of humour.

This unique study investigates the ways in which the staging convention of direct address - talking to the audience - can construct selfhood, for Shakespeare's characters. By focusing specifically on the relationship between performer and audience, Talking to the Audience examines what happens when the audience are in the presence of a dramatic figure who knows they are there. It is a book concerned with theatrical illusion; with the pleasures and disturbances of seeing 'characters' produced in the moment of performance.Through analysis of contemporary productions Talking to the Audience serves to demonstrate how the study of recent performance helps us to understand both Shakespeare's cultural moment and our own. Its exploration of how theory and practice can inform each other make this essential reading for all those studying Shakespeare in either a literary or theatrical context.

This unique study investigates the ways in which the staging convention of direct address - talking to the audience - can construct selfhood, for Shakespeare's characters. By focusing specifically on the relationship between performer and audience, Talking to the Audience examines what happens when the audience are in the presence of a dramatic figure who knows they are there. It is a book concerned with theatrical illusion; with the pleasures and disturbances of seeing 'characters' produced in the moment of performance.Through analysis of contemporary productions Talking to the Audience serves to demonstrate how the study of recent performance helps us to understand both Shakespeare's cultural moment and our own. Its exploration of how theory and practice can inform each other make this essential reading for all those studying Shakespeare in either a literary or theatrical context.

This volume examines the pioneering work of Phyllida Lloyd, whose all-female productions have revolutionised how Shakespeare’s plays are performed in 21st-century Britain.Following Lloyd from her first Shakespeare in Cheltenham in 1986, this book explores her radical casting practices and the importance of her collaborative rehearsal approach. While her 2003 all-female Taming of the Shrew at Shakespeare’s Globe was met with both enthusiasm and resistance, it was her production of Julius Caesar in 2012 at the Donmar Warehouse which sent shock waves through the theatre industry. Alongside Henry IV in 2014 and a new production of The Tempest, Lloyd produced these plays together to create the Donmar Trilogy of 2016 to wide acclaim, a cultural landmark moment in which non-traditional casting had become mainstream.The book explores Lloyd’s ongoing relationships with major stars – Harriet Walter, Janet McTeer, Meryl Streep – and includes new interviews with both Lloyd and actors she has worked with across the last 40 years. It argues that Lloyd’s megamusical Mamma Mia! had a crucial impact on her directing practice, helping to pave the way for the Donmar Shakespeares. Ultimately Schafer and Bullen show that Lloyd’s career-long commitment to creating disturbance and diversity through her work has opened up what she calls the ‘crown jewels’ of British theatre – Shakespeare – to new audiences.

Patrice Chéreau (1944 - 2013) was one of France’s leading directors in the theatre and on film and a major influence on Shakespearean performance. He is internationally known for memorable productions of both drama and opera. His life-long companionship with Shakespeare began in 1970 when his innovative Richard II made the young director famous overnight and caused his translator to denounce him publicly as an iconoclast, for a production mixing “music-hall, circus, and pankration”. After this break, Chéreau read Shakespeare’s texts assiduously, “line by line and word by word”, with another renowned poet, Yves Bonnefoy.Drawing on new interviews with many of Chereau's collaborators, this study explores a unique theatre maker's interpretations of Shakespeare in relation to the European tradition and to his wider body of work on stage and film, to establish his profound influence on other producers of Shakespeare.

It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone.... You were the glimmer. At the end of the tunnel. And you went out.Earthquakes in London is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe. The play deals, through amplified theatricality, with a range of contemporary issues from population growth to climate change.An all-pervasive fear of the future and a guilty pleasure in the excesses of the present drive Mike Bartlett's epic rollercoaster of a play from 1968 to 2525 and back again.Earthquakes in London first published in 2010 and has subsequently become a much-produced and widely studied drama text. It is published here as a Student Edition alongside commentary and notes by Bridget Escolme.The ancillary material is geared at students and includes:- an introduction outlining the play's plot, character, themes context and performance history- the full text of the play- a chronology of the playwright's life and work- extensive textual notes- questions for further study- an interview with the playwright

Sir Trevor Nunn is one of the most versatile and accomplished directors in the English-speaking theatre. This book examines his achievements as a director of Shakespeare within the wider context of debates on the cultural politics of Britain’s theatrical institutions in the twentieth and twenty-first centuries. His approach has been marked by the combination of close textual analysis with inventive theatricality, in performance spaces ranging from the large stages of the Royal Shakespeare Company and the National Theatre to the intimacy of the companies’ studio theatres. The principal focus of the book is on Nunn’s work as director of Shakespeare during his artistic directorship of the RSC and the NT. The four core chapters focus in detail on major productions that can be said to have challenged and changed perceptions of the plays, including The Winter’s Tale (RSC, 1969), the ‘Roman Plays’ season (RSC, 1972) and All’s Well That Ends Well (RSC, 1982), and the studio productions of Macbeth (RSC 1976), Othello (RSC, 1989) and The Merchant of Venice (NT, 1999). The study draws on archive material, as well as reviews and other published commentary, including that of actors who have worked with him.

This handbook offers a way in to reading Anthony and Cleopatra theatrically. Through analyses of key productions, an account of the historical conditions in which the play was first produced, and a scene-by-scene account of how the play might be approached in performance, this book focuses on the challenges of staging the notorious lovers.

Emotional Excess on the Shakespearean Stage demonstrates the links made between excess of emotion and madness in the early modern period. This open access book argues that the ways in which today's popular and theatrical cultures judge how much is too much can distort our understanding of early modern drama and theatre. It argues that permitting the excesses of the early modern drama onto the contemporary stage might free actors and audiences alike from assumptions that in order to engage with the drama of the past, its characters must be just like us.The book deals with characters in the plays of Shakespeare and his contemporaries who are sad for too long, or angry to the point of irrationality; people who laugh when they shouldn't or make their audiences do so; people whose selfhood has broken down into an excess of fragmentary extremes and who are labelled mad. It is about moments in the theatre when excessive emotion is rewarded and applauded — and about moments when the expression of emotion is in excess of what is socially acceptable: embarrassing, shameful, unsettling or insane. The book explores the broader cultures of emotion that produce these theatrical moments, and the theatre's role in regulating and extending the acceptable expression of emotion. It is concerned with the acting of excessive emotion and with acting emotion excessively. And it asks how these excesses are produced or erased, give pleasure or pain, in versions of early modern drama in theatre, film and television today.Plays discussed include Hamlet, Romeo and Juliet, The Spanish Tragedy, Twelfth Night, Much Ado About Nothing, Measure for Measure, and Coriolanus.The ebook editions of this book are available open access under a CC-BY-NC-ND 3.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.

Emotional Excess on the Shakespearean Stage demonstrates the links made between excess of emotion and madness in the early modern period. This open access book argues that the ways in which today's popular and theatrical cultures judge how much is too much can distort our understanding of early modern drama and theatre. It argues that permitting the excesses of the early modern drama onto the contemporary stage might free actors and audiences alike from assumptions that in order to engage with the drama of the past, its characters must be just like us.The book deals with characters in the plays of Shakespeare and his contemporaries who are sad for too long, or angry to the point of irrationality; people who laugh when they shouldn't or make their audiences do so; people whose selfhood has broken down into an excess of fragmentary extremes and who are labelled mad. It is about moments in the theatre when excessive emotion is rewarded and applauded — and about moments when the expression of emotion is in excess of what is socially acceptable: embarrassing, shameful, unsettling or insane. The book explores the broader cultures of emotion that produce these theatrical moments, and the theatre's role in regulating and extending the acceptable expression of emotion. It is concerned with the acting of excessive emotion and with acting emotion excessively. And it asks how these excesses are produced or erased, give pleasure or pain, in versions of early modern drama in theatre, film and television today.Plays discussed include Hamlet, Romeo and Juliet, The Spanish Tragedy, Twelfth Night, Much Ado About Nothing, Measure for Measure, and Coriolanus.The ebook editions of this book are available open access under a CC-BY-NC-ND 3.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.

Cheek by Jowl, founded by Declan Donnellan and Nick Ormerod in 1981, is one of the world’s most critically acclaimed classical theatre companies. Across seventeen productions of Shakespeare (as well as several by his contemporaries and other European dramatists), Cheek by Jowl’s experiments with text, space, light and bodies have produced bold reinventions of canonical and lesser-explored plays. Despite the pre-eminence of the company, its multiple awards and central place in the European repertory, this is the first substantive study of the company’s body of work.This book situates Cheek by Jowl’s work within the key institutions and traditions that have shaped the company’s development from low-budget beginnings at the Edinburgh Festival to international celebration, while also focusing specifically on the company’s use of Shakespeare to drive forward its practice. Drawing on the company’s work in English, Russian and French, the book uses key productions as case studies to interrogate the company’s unique style and build an argument for the distinctive insights offered by Cheek by Jowl’s approach.The book draws on new interviews with creative and administrative company members from the full span of Cheek by Jowl’s history as well as a full appraisal of the Cheek by Jowl archives, offering the first scholarly overview of the company’s work.

Cheek by Jowl, founded by Declan Donnellan and Nick Ormerod in 1981, is one of the world’s most critically acclaimed classical theatre companies. Across seventeen productions of Shakespeare (as well as several by his contemporaries and other European dramatists), Cheek by Jowl’s experiments with text, space, light and bodies have produced bold reinventions of canonical and lesser-explored plays. Despite the pre-eminence of the company, its multiple awards and central place in the European repertory, this is the first substantive study of the company’s body of work.This book situates Cheek by Jowl’s work within the key institutions and traditions that have shaped the company’s development from low-budget beginnings at the Edinburgh Festival to international celebration, while also focusing specifically on the company’s use of Shakespeare to drive forward its practice. Drawing on the company’s work in English, Russian and French, the book uses key productions as case studies to interrogate the company’s unique style and build an argument for the distinctive insights offered by Cheek by Jowl’s approach.The book draws on new interviews with creative and administrative company members from the full span of Cheek by Jowl’s history as well as a full appraisal of the Cheek by Jowl archives, offering the first scholarly overview of the company’s work.

What is the role of costume in Shakespeare production? Shakespeare and Costume in Practice argues that costume design choices are central not only to the creation of period setting and the actor’s work on character, but to the cultural, political, and psychological meanings that the theatre makes of Shakespeare.