Shakespeare’s Audiences

Matteo Pangallo, Peter Kirwan, Matteo Pangallo, Peter Kirwan

• Publisher: Routledge
• Year: 2021
• Print ISBN: 9780367715465
• eBook ISBN: 9781000352573
• Topic: Literature
• Subtopic: Literary Collections
• Index: Literature

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.

Index

Ackerman, Alan 147

acoustic phenomenology 27

actors 12, 16; see also all-female cast; see also individual actors’ names

Adams, Blessin 84n13

Aebischer, Pascale 10, 13, 186, 187, 192, 194n21, 217

affective practice 39n41

affective sensibility 167, 168, 172

affective transmission 47, 48, 49–50, 51–2, 54–5; see also contagion, emotional

Agrippa 29, 35

air 27, 28–9, 30, 32, 35, 36, 36n3; see also breath

airborne diseases 28, 29–30

Akinwolere, Ayo 201, 202

Alasuutari, Pertti 12

Alchemist, The 66

All Saints’ Day 78

all-female cast: Julius Caesar (2017) 13, 119–20, 121, 122, 123, 125–8, 129; Measure for Measure (2019) 14–15, 213, 214, 216–17, 221

America, Shakespeare in 89–93, 94, 96–7; Macbeth (1849 Astor Place production) 13, 15, 137–42, 143–4, 145–7; Measure for Measure (2019 Mobile Unit production) 14–15, 213, 214, 215–17, 220, 221; Mobile Theater 14, 15, 154–63, 212, 213; The Mobile Unit 213–15, 218, 219, 220–1

American audiences 89, 90, 92–3, 9...

Table of contents

• Cover
• Half Title
• Series Information
• Title Page
• Copyright Page
• Contents
• List of Illustrations
• Contributor Biographies
• Acknowledgments
• Introduction
• Embodied Audiences
• Constructing Audiences
• Performing Audiences
• Observing Audiences
• Index