Miranda Fay Thomas – författare
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4 produkter
4 produkter
Shakespeare’s Body Language
Shaming Gestures and Gender Politics on the Renaissance Stage
Inbunden, Engelska, 2019
1 554 kr
Skickas inom 10-15 vardagar
Why do the Capulets bite their thumbs at the Montagues? Why do the Venetians spit upon Shylock’s Jewish gaberdine? What is it about Volumnia’s act of kneeling that convinces Coriolanus not to assault the city of Rome?Shakespeare’s Body Language is a ground-breaking new study of Shakespearean drama, revealing the previously unseen history of social tensions found within the performance of gestures – and how such gestures are used to shame those within the body politic of early modern England. The first full study of shaming gestures in Shakespearean drama, this book establishes how shame is often rooted in the gendered expectations of the Renaissance era. Exploring how the performance of gestures such as figging, the cuckold’s horns, and even the in-action of stillness created shaming spectacles on the early modern stage and its wider society, Shakespeare’s Body Language argues that gestures are embodied social metaphors which epitomise the personal as political. It reveals the tensions of everyday life as key motivators behind the actions of Shakespeare’s characters, and considers how honour and its opposite, shame, are constructed in terms of gender norms.Featuring in-depth analyses of plays across Shakespeare’s career, this book explores how the playwright’s understanding of shame and humiliation is rooted in performance anxiety and gender politics, explaining how theatrical gestures can create dramatic tension in a way that words alone cannot. It offers both rich insights into the early modern context of Shakespeare’s drama and confirms the startling relevance of his work to modern audiences.
151 kr
Skickas inom 3-6 vardagar
Arden Performance Editions are ideal for anyone engaging with a Shakespeare play in performance. With clear facing-page notes giving definitions of words, easily accessible information about key textual variants, lineation, metrical ambiguities and pronunciation, each edition has been developed to open the play’s possibilities and meanings to actors and students. Each edition offers: -Facing-page notes -Short, clear definitions of words -Easily accessible information about key textual variants -Notes on pronunciation of difficult names and unfamiliar words -An easy-to-read layout -Space to write notes -A short introduction to the play
Shakespeare’s Body Language
Shaming Gestures and Gender Politics on the Renaissance Stage
Häftad, Engelska, 2021
518 kr
Skickas inom 10-15 vardagar
Why do the Capulets bite their thumbs at the Montagues? Why do the Venetians spit upon Shylock’s Jewish gaberdine? What is it about Volumnia’s act of kneeling that convinces Coriolanus not to assault the city of Rome?Shakespeare’s Body Language is a ground-breaking new study of Shakespearean drama, revealing the previously unseen history of social tensions found within the performance of gestures – and how such gestures are used to shame those within the body politic of early modern England. The first full study of shaming gestures in Shakespearean drama, this book establishes how shame is often rooted in the gendered expectations of the Renaissance era. Exploring how the performance of gestures such as figging, the cuckold’s horns, and even the in-action of stillness created shaming spectacles on the early modern stage and its wider society, Shakespeare’s Body Language argues that gestures are embodied social metaphors which epitomise the personal as political. It reveals the tensions of everyday life as key motivators behind the actions of Shakespeare’s characters, and considers how honour and its opposite, shame, are constructed in terms of gender norms.Featuring in-depth analyses of plays across Shakespeare’s career, this book explores how the playwright’s understanding of shame and humiliation is rooted in performance anxiety and gender politics, explaining how theatrical gestures can create dramatic tension in a way that words alone cannot. It offers both rich insights into the early modern context of Shakespeare’s drama and confirms the startling relevance of his work to modern audiences.
Alternative History of Shakespearean Acting
Contexts, Practices and Cultural Authority
Inbunden, Engelska, 2027
1 514 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.