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date: 01 April 2020

Abstract and Keywords

Historically the appearance of twelve men dressed as satyrs, who are introduced as “having danced before the king” in The Winter’s Tale, have assisted with dating Shakespeare’s play in the same year as Ben Jonson’s masque, Oberon, The Fairy Prince (1611). Stone No More, a devised performance created by the author for the Exeter Northcott Theatre, United Kingdom, took this moment of intertextuality as its inspiration, and, working with what is known of the dances, music, and written texts for the two sources, set out to reimagine the progression from chaos to harmony in both works, considering tensions at the boundaries of reconstruction and adaptation. While an emphasis on historical reconstruction in early dance practice can be read alongside narratives of “authenticity” or “original” practices in Shakespeare, the chapter argues that implementing early dance can invigorate Shakespearean adaptations in an alternative context by refiguring fragments and dancing with the archive.

Keywords: adaptation, archive, reconstruction, masque, Jonson, Oberon, The Fairy Prince, Shakespeare, The Winter’s Tale

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