- 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
On February 9, 1965, the premiere of Kenneth MacMillan’s full-length dance adaptation of William Shakespeare’s Romeo and Juliet to a score by Russian composer Sergei Prokofiev took place at the Royal Opera House, Covent Garden. This chapter uses the figures of the three harlots in MacMillan’s ballet—characters that do not appear in Shakespeare’s play—to explore the real, practical, and pragmatic business of adaptation. The harlots, typically represented by soloists or first soloists within the ballet companies, appear prominently in the work’s ensemble scenes. As non-Shakespearean characters, they embody the gap between the source-text and MacMillan’s translation. This is a gap worth examining, offering an insight into the creative afterlife of a Shakespearean text and the infidelities that arguably constitute the success of any adaptation.
Lynsey McCulloch is Senior Lecturer in English Literature at Coventry University and an Associate Member of its Centre for Dance Research (C-DaRE). She researches the relationship between literature and dance.
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