- 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
This chapter explores Volcano Theatre Company’s radical interpretation of Shakespeare’s Sonnets through their award-winning physical theater production, L.O.V.E. (1992). Drawing on literary analysis and sociological readings, the chapter considers current and historical perspectives on what many consider to be Shakespeare’s most intimate work, and notably the implications of the poetry’s homoerotic focus. The chapter then explores Volcano’s adaptation of this nontheatrical work into narratively driven performance material, focusing on analysis of the company’s choreographic and aesthetic responses to the textual stimulus. The author’s decade-long experience of performing in L.O.V.E. is augmented through interviews with key members of the production’s original cast and creative collaborators. Finally, the chapter reflects on the critical impact of L.O.V.E. through analysis of its cultural and political reception both in the United Kingdom and internationally.
James Hewison is a Senior Lecturer in Dance at Edge Hill University.
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