Robert Shaughnessy – författare

This collection of contemporary criticism highlights the extent to which recent discussion of Shakespeare on film has drawn upon the theoretical perspectives of Marxism, feminism, psychoanalysis and post-structuralism, generating a radical reappraisal of a Shakespearean cinema which has itself experienced a revival in the last decade. Ranging widely across the canon of Shakespeare films, from Max Reinhardt's A Midsummer Night's Dream to Peter Greenaway's Prospero's Books, the essays address the cultural politics of film adaptation from a variety of angles, offering readings of individual films -Hamlet, Henry V, The Tempest - but also raising larger questions about the nature, purpose and future direction of Shakespearean cinema.

This collection of modern essays by leading figures in the field of Shakespeare scholarship reveals the rich interplay between contemporary theoretical approaches - psychoanalytic, new historicist, feminist and cultural materialist - and the study of the play in performance, both in Shakespeare's time and our own. Examining the representation of power, ideology, class, race and gender in a wide range of playtexts and theatrical contexts, the essays explore Shakespeare's performance possibilities in theory and in practice.

This collection of modern essays by leading figures in the field of Shakespeare scholarship reveals the rich interplay between contemporary theoretical approaches - psychoanalytic, new historicist, feminist and cultural materialist - and the study of the play in performance, both in Shakespeare's time and our own. Examining the representation of power, ideology, class, race and gender in a wide range of playtexts and theatrical contexts, the essays explore Shakespeare's performance possibilities in theory and in practice.

This edition of four Renaissance comedies represents the vitality, range and diversity of the English comic drama of the late sixteenth and early seventeenth centuries, reflecting both its capacity for escapist fantasy and its concern with the intrigues of everyday city life. Comprehensive textual notes establish the plays in their originating cultural and theatrical circumstances, as well as explaining obscure references and allusions. A general introduction provides a helpful overview of early modern comedy in the context of Renaissance comic theory and practice, together with an assessment of its continuing theatrical appeal.

Demystifying and contextualising Shakespeare for the twenty-first century, this book offers both an introduction to the subject for beginners as well as an invaluable resource for more experienced Shakespeareans.In this friendly, structured guide, Robert Shaughnessy: introduces Shakespeare’s life and works in context, providing crucial historical backgroundlooks at each of Shakespeare’s plays in turn, considering issues of historical context, contemporary criticism and performance history provides detailed discussion of twentieth-century Shakespearean criticism, exploring the theories, debates and discoveries that shape our understanding of Shakespeare today looks at contemporary performances of Shakespeare on stage and screen provides further critical reading by playoutlines detailed chronologies of Shakespeare’s life and works and also of twentieth-century criticismThe companion website at www.routledge.com/textbooks/shaughnessy contains student-focused materials and resources, including an interactive timeline and annotated weblinks.

Demystifying and contextualising Shakespeare for the twenty-first century, this book offers both an introduction to the subject for beginners as well as an invaluable resource for more experienced Shakespeareans.In this friendly, structured guide, Robert Shaughnessy: introduces Shakespeare’s life and works in context, providing crucial historical backgroundlooks at each of Shakespeare’s plays in turn, considering issues of historical context, contemporary criticism and performance history provides detailed discussion of twentieth-century Shakespearean criticism, exploring the theories, debates and discoveries that shape our understanding of Shakespeare today looks at contemporary performances of Shakespeare on stage and screen provides further critical reading by playoutlines detailed chronologies of Shakespeare’s life and works and also of twentieth-century criticismThe companion website at www.routledge.com/textbooks/shaughnessy contains student-focused materials and resources, including an interactive timeline and annotated weblinks.

This 2007 collection offered the first definitive study of a surprisingly underdeveloped area of scholarly investigation, namely the relationship between Shakespeare, children and childhood from Shakespeare's time to the present. It offers a thorough mapping of the domain in which Shakespearean childhoods need to be studied, in order to show how studying Shakespearean childhoods makes significant contributions both to Shakespearean scholarship, and to the history of childhood and its representations. The book is divided into two sections, each with a substantial introduction outlining relevant critical debates and contextualizing the rich combination of fresh research and readings of familiar Shakespearean texts that characterize the individual essays. The first part of the book examines the significance of the figure of the child in the Shakespearean canon. The second part traces the rich histories of negotiation, exchange and appropriation that have characterised Shakespeare's subsequent relations to the cultures of childhood in literary realms.

This Companion explores the remarkable variety of forms that Shakespeare's life and works have taken over the course of four centuries, ranging from the early modern theatrical marketplace to the age of mass media, and including stage and screen performance, music and the visual arts, the television serial and popular prose fiction. The book asks what happens when Shakespeare is popularized, and when the popular is Shakespeareanized; it queries the factors that determine the definitions of and boundaries between the legitimate and illegitimate, the canonical and the authorized and the subversive, the oppositional, the scandalous and the inane. Leading scholars discuss the ways in which the plays and poems of Shakespeare, as well as Shakespeare himself, have been interpreted and reinvented, adapted and parodied, transposed into other media, and act as a source of inspiration for writers, performers, artists and film-makers worldwide.

This Companion explores the remarkable variety of forms that Shakespeare's life and works have taken over the course of four centuries, ranging from the early modern theatrical marketplace to the age of mass media, and including stage and screen performance, music and the visual arts, the television serial and popular prose fiction. The book asks what happens when Shakespeare is popularized, and when the popular is Shakespeareanized; it queries the factors that determine the definitions of and boundaries between the legitimate and illegitimate, the canonical and the authorized and the subversive, the oppositional, the scandalous and the inane. Leading scholars discuss the ways in which the plays and poems of Shakespeare, as well as Shakespeare himself, have been interpreted and reinvented, adapted and parodied, transposed into other media, and act as a source of inspiration for writers, performers, artists and film-makers worldwide.

This 2007 collection offered the first definitive study of a surprisingly underdeveloped area of scholarly investigation, namely the relationship between Shakespeare, children and childhood from Shakespeare's time to the present. It offers a thorough mapping of the domain in which Shakespearean childhoods need to be studied, in order to show how studying Shakespearean childhoods makes significant contributions both to Shakespearean scholarship, and to the history of childhood and its representations. The book is divided into two sections, each with a substantial introduction outlining relevant critical debates and contextualizing the rich combination of fresh research and readings of familiar Shakespearean texts that characterize the individual essays. The first part of the book examines the significance of the figure of the child in the Shakespearean canon. The second part traces the rich histories of negotiation, exchange and appropriation that have characterised Shakespeare's subsequent relations to the cultures of childhood in literary realms.

This book examines the modern performance history of one of Shakespeare's best-loved and most enduring comedies, and one that has given opportunities for generations of theatre-makers and theatre-goers to explore the pleasures of pastoral, gender masquerade and sexual ambiguity. Powered by Shakespeare's greatest female comic role, the play invites us into a deeply English woodland that has also been richly imagined as a space of dreams. The study retrieves the untold stories of stage productions in Britain, France and Germany, which include Royal Shakespeare Company productions starring Vanessa Redgrave, Eileen Atkins and Juliet Stevenson, the ground-breaking all-male productions at the National Theatre in 1967 and by Cheek by Jowl in 1992, and the versions directed by Jacques Copeau in Paris in 1934, and by Peter Stein in Berlin in 1977. It also addresses the four major screen versions of the play, ranging from Paul Czinner's 1936 film to Kenneth Branagh's seventy years later.

This text traces the changing theatrical and cultural identity of the History plays in the context of postwar social and political conflict, crisis and change. Since the company's inception in the early 1960s, the RSC's commitment to relevance has fostered close relationships between Shakespearean criticism and performance, and between the theatre and its audiences. Through a detailed discussion of key productions, from "The War of the Roses" in 1963 to "The Plantegenets" in 1988, Robert Shaughnessy emphasizes the political dimension of contemporary theatrical representations of Shakespeare, and of the "Shakespearean" modes of history that these plays have been employed to promote; individualist, cyclical, male-dominated, and driven by essentialised, transcendent human nature.

This Element addresses the question of what Shakespeare in contemporary performance is about, and whether it really is, as it may claim to be, about Shakespeare. Far from charting a smooth journey from page to stage, the work of making Shakespeare into performances often involves deflection, evasion and circumnavigation. Drawing upon the work of the Royal Shakespeare Company, Shakespeare's Globe and the Schaubühne Berlin, About Shakespeare examines theatrical bodies, the spaces inhabited by actors and audiences, and the texts that circulate around and between them.

This text traces the changing theatrical and cultural identity of the History plays in the context of postwar social and political conflict, crisis and change. Since the company's inception in the early 1960s, the RSC's commitment to relevance has fostered close relationships between Shakespearean criticism and performance, and between the theatre and its audiences. Through a detailed discussion of key productions, from "The War of the Roses" in 1963 to "The Plantegenets" in 1988, Robert Shaughnessy emphasizes the political dimension of contemporary theatrical representations of Shakespeare, and of the "Shakespearean" modes of history that these plays have been employed to promote; individualist, cyclical, male-dominated, and driven by essentialised, transcendent human nature.

One of Shakespeare’s last plays, The Winter’s Tale provides tragedy and comedy in equal measure. The King of Sicily, Leontes, accuses Queen Hermione, his wife, of adultery and sets off a series of events driven by royal betrayal, jealousy and the possibility of pastoral love that builds to a fantastical ending. 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.Designed to be used and to be useful, each edition has plenty of space for personal annotations and the well-spaced text is easy to read and to navigate.Each edition offers:- Short, clear definitions of words- Information about key textual variants- Notes on pronunciation of difficult names and unfamiliar words- An easy to read layout with space to write your own notes- A short introduction to the play

The National Theatre’s years at the Old Vic were the most Shakespearean period in its history, one which included Laurence Olivier’s Othello and Shylock, a radical all-male As You Like It, the Berliner Ensemble’s Coriolanus and Tom Stoppard’s classic offshoot, Rosencrantz and Guildernstern are Dead. Drawing extensively upon the company archives, this book tells the interlinked stories of the National’s relationship with Shakespeare through a series of production case studies. Between them these illuminate Olivier’s significance as actor and director, the National’s pioneering accommodation of European theatre practitioners, and its ways of engaging Shakespeare with the contemporary.

The National Theatre’s years at the Old Vic were the most Shakespearean period in its history, one which included Laurence Olivier’s Othello and Shylock, a radical all-male As You Like It, the Berliner Ensemble’s Coriolanus and Tom Stoppard’s classic offshoot, Rosencrantz and Guildernstern are Dead. Drawing extensively upon the company archives, this book tells the interlinked stories of the National’s relationship with Shakespeare through a series of production case studies. Between them these illuminate Olivier’s significance as actor and director, the National’s pioneering accommodation of European theatre practitioners, and its ways of engaging Shakespeare with the contemporary.

This book examines the modern performance history of one of Shakespeare's best-loved and most enduring comedies, and one that has given opportunities for generations of theatre-makers and theatre-goers to explore the pleasures of pastoral, gender masquerade and sexual ambiguity. Powered by Shakespeare's greatest female comic role, the play invites us into a deeply English woodland that has also been richly imagined as a space of dreams. The study retrieves the untold stories of stage productions in Britain, France and Germany, which include Royal Shakespeare Company productions starring Vanessa Redgrave, Eileen Atkins and Juliet Stevenson, the ground-breaking all-male productions at the National Theatre in 1967 and by Cheek by Jowl in 1992, and the versions directed by Jacques Copeau in Paris in 1934, and by Peter Stein in Berlin in 1977. It also addresses the four major screen versions of the play, ranging from Paul Czinner's 1936 film to Kenneth Branagh's seventy years later.

Shakespeare’s roots in applied and participatory performance practices have been recently explored within a wide variety of educational, theatrical and community settings. Shakespeare and Social Engagement explores these settings, as well as audiences who have largely been excluded from existing accounts of Shakespeare’s performance history. The contributions in this collected volume explore the complicated and vibrant encounters between a canonical cultural force and work that frequently characterizes itself as inclusive and egalitarian.