Winner of the ASLE-UKI 2022 Book Prize From The Pastoral Players' 1884 performance of As You Like It to contemporary site-specific productions activist interventions, there is a rich history of open air performances of Shakespeare's plays beyond their early modern origins. Weathering Shakespeare reveals how new insights from the environmental humanities can transform our understanding of this popular performance practice. Drawing on audience accounts of outdoor productions of those plays most commonly chosen for open air performance – including A Midsummer Night's Dream and The Tempest – the book examines how performers and audiences alike have reacted to unpredictable natural environments.
Shakespeare wrote for a theater in which the audience was understood to be, and at times invited to be, active and participatory. How have Shakespeare’s audiences, from the sixteenth century to the present, responded to that invitation? In what ways have consumers across different cultural contexts, periods, and platforms engaged with the performance of Shakespeare’s plays? What are some of the different approaches taken by scholars today in thinking about the role of Shakespeare's audiences and their relationship to performance? The chapters in this collection use a variety of methods and approaches to explore the global history of audience experience of Shakespearean performance in theater, film, radio, and digital media. The approaches that these contributors take look at Shakespeare’s audiences through a variety of lenses, including theater history, dramaturgy, film studies, fan studies, popular culture, and performance. Together, they provide both close studies of particular moments in the history of Shakespeare’s audiences and a broader understanding of the various, often complex, connections between and among those audiences across the long history of Shakespearean performance.
From The Pastoral Players' 1884 performance of As You Like It to contemporary site-specific productions activist interventions, there is a rich history of open air performances of Shakespeare's plays beyond their early modern origins. Weathering Shakespeare reveals how new insights from the environmental humanities can transform our understanding of this popular performance practice. Drawing on audience accounts of outdoor productions of those plays most commonly chosen for open air performance – including A Midsummer Night's Dream and The Tempest – the book examines how performers and audiences alike have reacted to unpredictable natural environments.
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
Bronwen Wallace Memorial Award-winning poet Sonnet L'Abbé returns with her third collection, in which a mixed-race woman decomposes her inheritance of Shakespeare by breaking open the sonnet and inventing an entirely new poetic form. DOROTHY LIVESAY POETRY PRIZE FINALIST RAYMOND SOUSTER AWARD FINALIST How can poetry grapple with how some cultures assume the place of others? How can English-speaking writers use the English language to challenge the legacy of colonial literary values? In Sonnet's Shakespeare, one young, half-dougla (mixed South Asian and Black) poet tries to use "the master's tools" on the Bard's "house," attempting to dismantle his monumental place in her pysche and in the poetic canon. In a defiant act of literary patricide and a feat of painstaking poetic labour, Sonnet L'Abbé works with the pages of Shakespeare's sonnets as a space she will inhabit, as a place of power she will occupy. Letter by letter, she sits her own language down into the white spaces of Shakespeare's poems, until she overwhelms the original text and effectively erases Shakespeare's voice by subsuming his words into hers. In each of the 154 dense new poems of Sonnet's Shakespeare sits one "aggrocultured" Shakespearean sonnet--displaced, spoken over, but never entirely silenced. L'Abbé invented the process of Sonnet's Shakespeare to find a way to sing from a body that knows both oppression and privilege. She uses the procedural techniques of Oulipian constraint and erasure poetries to harness the raw energies of her hyperconfessional, trauma-forged lyric voice. This is an artist's magnum opus and mixed-race girlboy's diary; the voice of a settler on stolen Indigenous territories, a sexual assault survivor, a lover of Sylvia Plath and Public Enemy. Touching on such themes as gender identity, pop music, nationhood, video games, and the search for interracial love, this book is a poetic achievement of undeniable scope and significance.
Winner of the Baillie Gifford Prize’s 25th Anniversary Winner of Winners award What accounts for Shakespeare’s transformation from talented poet and playwright to one of the greatest writers who ever lived? In this gripping account, James Shapiro sets out to answer this question, "succeed[ing] where others have fallen short." (Boston Globe) 1599 was an epochal year for Shakespeare and England. During that year, Shakespeare wrote four of his most famous plays: Henry the Fifth, Julius Caesar, As You Like It, and, most remarkably, Hamlet; Elizabethans sent off an army to crush an Irish rebellion, weathered an Armada threat from Spain, gambled on a fledgling East India Company, and waited to see who would succeed their aging and childless queen. James Shapiro illuminates both Shakespeare’s staggering achievement and what Elizabethans experienced in the course of 1599, bringing together the news and the intrigue of the times with a wonderful evocation of how Shakespeare worked as an actor, businessman, and playwright. The result is an exceptionally immediate and gripping account of an inspiring moment in history.
The results of tests performed on six different models of fiberglass-reinforced plastic (FRP) lighting standards are presented. Four parameters, including deflection of the pole tip under a specified bending load, ultimate bend strength, degradation of coating after 2,500 hours of accelerated weathering, and coating thickness, were evaluated. Results are compared to requirements in the California Department of Transportation 1992 Standard Special Provision 86.08.5 "Fiberglass Lighting Standards."
