- Copyright Page
- Introduction to Part I: Shakespeare <i>and</i> Dance
- “The Heaven’s True Figure” or an “Introit to All Kind of Lewdness”?: Competing Conceptions of Dancing in Shakespeare’s England
- Decoding Dance in Shakespeare’s <i>Much Ado about Nothing</i> and <i>Twelfth Night</i>
- “When the Play Is Done, You Shall Have a Jig or Dance of All Treads”: Danced Endings on Shakespeare’s Stage
- “The Revellers Are Entering”: Shakespeare and Masquing Practice in Tudor and Stuart England
- We Are All Made: The Socioeconomics of <i>The Two Noble Kinsmen</i>’s Anti-Masque Morris Dance
- <i>The Merchant of Venice</i>’s Missing Masque: Absence, Touch, and Religious Residues
- Shakespeare’s Dancing Bodies: The Case of Romeo
- Dancing with Perdita: The Choreography of Lost Time in <i>The Winter’s Tale</i>
- “The Wisdom of Your Feet”: Dance and Rhetoric on the Shakespearean Stage
- [They Dance]: Collaborative Authorship and Dance in <i>Macbeth</i>
- Dancing with the Archive: Early Dance for Shakespearean Adaptation
- Introduction to Part II: Shakespeare <i>as</i> Dance
- Shakespeare, Modernism, and Dance
- Dance in the Broadway Musicals of Shakespeare: Balanchine, Holm, and Robbins
- “Thou Art Translated”: Affinity, Emulation, and Translation in George Balanchine’s <i>A Midsummer Night’s Dream</i>
- “Hildings and Harlots”: Kenneth MacMillan’s <i>Romeo and Juliet</i>
- Shakespeare Ballets in Germany: From Jean-Georges Noverre to John Neumeier
- “Therefore Ha’ Done with Words”: Shakespeare and Innovative British Ballets
- Measure in Everything: Adapting <i>Hamlet</i> to the Contemporary Dance Stage
- <i>Hamlet</i>, The Ballet: Examining a Choreographic Process
- Haunted by <i>Hamlet</i>: Devising William Forsythe’s <i>Sider</i>
- Dancing Her Death: Dada Masilo’s <i>The Bitter End of Rosemary</i> (2011) as a South African Contemporary Rethinking of <i>Hamlet</i>’s Ophelia
- Embodiment, Reciprocity, and Reception: Shakespeare Adaptations in a Black Atlantic Context
- Shakespeare and <i>L.O.V.E.</i>: Dance and Desire in the <i>Sonnets</i>
- Incorporating the Text: John Farmanesh-Bocca’s <i>Pericles Redux</i> and Crystal Pite’s <i>The Tempest Replica</i>
- “A Delightful Measure or a Dance”: Synetic Theater and Physical Shakespeare
Abstract and Keywords
The chapter examines three ballets inspired by Shakespeare, created for the British Royal Ballet companies. Kenneth MacMillan’s Images of Love (1964) and The Prince of the Pagodas (1989) provide context for analysis of David Bintley’s The Shakespeare Suite (1999). The structural decisions, stylistic choices, and how these adaptations were received are evaluated. Particular attention is paid to the response to plot and to character, while more allusive connections with Shakespeare are highlighted. An analysis of gender roles and an engagement with meta-theatricality demonstrate the depth and complexity of these innovative ballets and also prompt fresh insights into individual plays.
Elinor Parsons is Senior Lecturer in Drama at De Montfort University, Leicester.
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