- 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
Shakespeare scholarship has long been interested in the temporal dynamics of The Winter’s Tale, and has often turned to melancholic or traumatic time frames to explain the thematic persistence of lost time in Shakespeare’s romance. In this chapter, the author argues that dance provides a key interpretive framework for understanding the play’s interest in bodily movements that exceed static oppositions between absence and presence, time lost and time regained. Drawing on recent theorizations of “crip time” and the posthuman, the author reads Perdita’s dance as a figuration of bodies, sexualities, and histories without proper figure; in so doing, this chapter sets out to choreograph lost time via the space between movements—where generativity and negativity dance.
Steven Swarbrick is Assistant Professor of English at Baruch College, CUNY.
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