Representing Shakespeare: England, History and the RSCThis 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. |
From inside the book
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... production could be documented in detail , critically analysed and subse- quently revisited ; that it could begin to be considered as a significant rather than merely anecdotal element in the history ( and identity ) of the play ...
... productions , the stage history frequently reaches towards the imagined felt life of a vanished performance . Thus , like Hamlet in pursuit of his father's ghost , Ralph Berry's Production criticism , critical production 31.
... production criticism which undermines its repeated claims to an authenti- city and validity which is more solidly , empirically grounded than what Styan calls ' the irrelevancies of ... Production criticism , critical production 33.
Contents
Chapter | 11 |
Production criticism critical production | 22 |
Chapter Three | 37 |
Copyright | |
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