- The Oxford Handbook of Shakespeare and Performance
- Dedication
- Acknowledgements
- List of Figures
- List of Tables
- Notes on Contributors
- Introduction: Cross-Currents in Performance Criticism
- Experimental Shakespeare
- Shakespeare and the Contemporary: Psychology, Culture, and Audience in Othello Production
- ‘Deared by Being Lacked’: The Realist Legacy and the Art of Failure in Shakespearean Performance
- Shakespeare for Dummies: Or, ‘See the Puppets Dallying’
- Not-Shakespeare and the Shakespearean Ghost
- Shakespeare’s Property Ladder: Women Directors and the Politics of Ownership
- Dialectical Shakespeare: Pedagogy in Performance
- Captive Shakespeare
- (How) Should We Listen to Audiences?: Race, Reception, and the Audience Survey
- Forgetting Performance
- Documenting the Demotic: Actor Blogs and the Guts of the Opera Singer
- The Time Is Out of Joint: Shakespeare, Jet Lag, and the Rhythms of Performance
- Archives and Anecdotes
- Reverie of a Shakespearean Walker
- Intimate and Epic <i>Macbeths</i> in Contemporary Performance
- High-Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman Tragedies and the Problem of Spectatorship
- ‘It’s All a Bit of a Risk’: Reformulating ‘Liveness’ in Twenty-First-Century Performances of Shakespeare
- Technology and the Ethics of Spectatorship
- Shakespearean Technicity
- Performance in Digital Editions of Shakespeare
- Shakespeare’s Rebirth: Performance in the Age of Electro-Digital Reproduction
- Making ‘Music at the Editing Table’: Echoing Verdi in Welles’s Othello
- ‘Nobody’s Perfect’: Cross-Dressing and Gender-Bending in Sven Gade’s Hamlet and Julie Taymor’s The Tempest
- Can the Subaltern Sing?: Liz White’s Othello
- Global Shakespeare Criticism Beyond the Nation State
- Global Shakespeare and Globalized Performance
- Performance, Presence, and Personal Responsibility: Witnessing Global Theatre in and around the Globe
- Shakespeare With and Without Its Language
- Slapstick Against Stereotypes in South Sudan’s <i>Cymbeline</i>
- Open and Closed: Workshopping Shakespeare in South Africa
- Indigenizing Shakespeare in South Africa
- ‘Victim of Improvisation’ in Latin America: Shakespeare Out-Sourced and In-Taken
- Global Cultural Tourism at Canada’s Stratford Festival: The Adventures of Pericles
- Verbal and Visual Representations in Modern Japanese Shakespeare Productions
- There Is a World Elsewhere: Shakespeare on the Chinese Stage
- Translating Performance: The Asian Shakespeare Intercultural Archive
- Index
Abstract and Keywords
‘Archives and Anecdotes’ pursues a historical syntax that can parse both words, since the two have traditionally been understood to exercise independently if not to outright antagonize one another. This chapter argues, however, that theatre anecdotes have at least as much to say about performance as they do about theatre history and myths; therefore it moves away from an assessment of the role anecdotes play in traditional historiography and towards an exploration of how they function in performance studies. Working through several examples, ‘Archives and Anecdotes’ ultimately argues that theatre anecdotes prove prophetic and thus are beholden less to the history of Shakespeare in performance than to its future.
Keywords: Key terms, archives, anecdotes, history, myths, theatre history, performance historiography
Paul Menzer is Associate Professor at Mary Baldwin College, where he is Director of the MLitt/MFA Shakespeare and Performance programme. His most recent book is The Hamlets: Cues, Q’s, and Remembered Texts (Delaware, 2009). His most recent play is Invisible, Inc ., which premiered in Austin, Texas in 2013.
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- The Oxford Handbook of Shakespeare and Performance
- Dedication
- Acknowledgements
- List of Figures
- List of Tables
- Notes on Contributors
- Introduction: Cross-Currents in Performance Criticism
- Experimental Shakespeare
- Shakespeare and the Contemporary: Psychology, Culture, and Audience in Othello Production
- ‘Deared by Being Lacked’: The Realist Legacy and the Art of Failure in Shakespearean Performance
- Shakespeare for Dummies: Or, ‘See the Puppets Dallying’
- Not-Shakespeare and the Shakespearean Ghost
- Shakespeare’s Property Ladder: Women Directors and the Politics of Ownership
- Dialectical Shakespeare: Pedagogy in Performance
- Captive Shakespeare
- (How) Should We Listen to Audiences?: Race, Reception, and the Audience Survey
- Forgetting Performance
- Documenting the Demotic: Actor Blogs and the Guts of the Opera Singer
- The Time Is Out of Joint: Shakespeare, Jet Lag, and the Rhythms of Performance
- Archives and Anecdotes
- Reverie of a Shakespearean Walker
- Intimate and Epic <i>Macbeths</i> in Contemporary Performance
- High-Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman Tragedies and the Problem of Spectatorship
- ‘It’s All a Bit of a Risk’: Reformulating ‘Liveness’ in Twenty-First-Century Performances of Shakespeare
- Technology and the Ethics of Spectatorship
- Shakespearean Technicity
- Performance in Digital Editions of Shakespeare
- Shakespeare’s Rebirth: Performance in the Age of Electro-Digital Reproduction
- Making ‘Music at the Editing Table’: Echoing Verdi in Welles’s Othello
- ‘Nobody’s Perfect’: Cross-Dressing and Gender-Bending in Sven Gade’s Hamlet and Julie Taymor’s The Tempest
- Can the Subaltern Sing?: Liz White’s Othello
- Global Shakespeare Criticism Beyond the Nation State
- Global Shakespeare and Globalized Performance
- Performance, Presence, and Personal Responsibility: Witnessing Global Theatre in and around the Globe
- Shakespeare With and Without Its Language
- Slapstick Against Stereotypes in South Sudan’s <i>Cymbeline</i>
- Open and Closed: Workshopping Shakespeare in South Africa
- Indigenizing Shakespeare in South Africa
- ‘Victim of Improvisation’ in Latin America: Shakespeare Out-Sourced and In-Taken
- Global Cultural Tourism at Canada’s Stratford Festival: The Adventures of Pericles
- Verbal and Visual Representations in Modern Japanese Shakespeare Productions
- There Is a World Elsewhere: Shakespeare on the Chinese Stage
- Translating Performance: The Asian Shakespeare Intercultural Archive
- Index
