Emer McHugh – författare
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2 produkter
2 produkter
Inbunden, Engelska, 2026
2 652 kr
Kommande
Irish Shakespeares explores performances, adaptations, and appropriations of Shakespeare in Irish theatrical contexts, and how they articulate concerns and conversations about gender and sexual politics.This book is the first full-length study to investigate Irish uses and appropriations in Shakespeare performance history and practice. In doing so the book demonstrates the distinctive nature of writing about Irish Shakespeare performance, in that it sits within and across multiple theoretical frameworks and paradigms. It primarily focuses on theatrical work in the Republic of Ireland, as well as performances of Shakespeare by Irish practitioners in English theatres, during a time of legislative, biopolitical, and social change and upheaval on the island of Ireland (2014-2022). Irish Shakespeares illustrates Irish Shakespeare performance as a valuable site for exploring and embodying notions, performances, and ideas of gender, sexuality, and national identity. It does not claim to be the last word on Irish Shakespeare performance either, proposing generative strategies for future work.This book is suitable for scholars and students specialising in Shakespeare and early modern performance studies, global Shakespeares, and Shakespeare and Ireland studies, as well as Irish theatre and performance, Irish cultural history, gender and sexuality studies, and performance and politics
Inbunden, Engelska, 2027
1 344 kr
Kommande
What are the qualities of a ‘Shakespearean actor’? Who has access to this identity? And can ‘Shakespearean’ ever be a meaningful descriptor for acting identities without reinforcing conservative cultural assumptions?An Alternative History of Shakespearean Acting provides a variety of perspectives from theatre history, disability studies, performance studies, critical race studies and global Shakespeares, among others, to address these core questions. The book confronts the overwhelmingly white, male, able-bodied and English-speaking emphases of many histories of Shakespearean acting, and asks how actors who do not fit into these identity categories might be recognised as ‘Shakespearean’. It offers a provocative alternative to biographical approaches to Shakespearean acting, arguing that such approaches have tended to obscure the systemic association of Shakespearean performance with cultural imperialism. Addressing the idea of the Shakespearean actor in the context of its long-lasting entanglement with British colonial histories, the volume foregrounds colonized, marginalized and disabled performers and the challenge they might present to imperialist Shakespeares.In four sections, the book offers different approaches to the study of Shakespearean acting, which expand the familiar list of famous names by considering dancers and amateurs as well as actors in traditionally neglected groups. The opening section explores the use of personal memory to fill lacunae in the archival record. This is followed by a set of chapters considering how intergenerational relationships might help to break down exclusionary practices. The third section addresses performers’ uses of their voices and bodies to reinforce or challenge stereotypes. A final section proposes new, more inclusive frameworks for the history of Shakespearean acting which look towards a more capacious definition of ‘Shakespearean actor’ for the future.