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date: 01 April 2020

Abstract and Keywords

This chapter considers two works, Pericles Redux and The Tempest Replica, created by Not Man Apart (NMA) Physical Theatre Ensemble and Kidd Pivot, respectively. It argues that the cross-over genres of physical theater and dance theater are well suited to Shakespeare adaptations, and that these two works succeed because, in keeping with Shakespeare’s own dramatic art, they mingle comic and tragic, classical and vernacular, and “pivot” among different media, movement styles, and registers of performance. Through humor, movement, and physical risk-taking, they surprise traditional audiences with visceral energy and engage audiences who not might not otherwise seek out Shakespeare. NMA and Kidd Pivot combine dance and storytelling so as to make movement the medium, not the servant, of the story. They demonstrate that movement-based adaptations of Shakespeare can speak to the bodies, minds, and emotions of audiences as profoundly as works of pure theater or pure movement.

Keywords: physical theater, dance theater, Kidd Pivot Performing Arts Company, Not Man Apart Physical Theatre Ensemble, Crystal Pite, John Farmanesh-Bocca, Pericles Redux, The Tempest Replica, William Shakespeare, adaptations of Shakespeare

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