Abstract and Keywords
One of the more surprising developments in the performance of Shakespeare across England over the past decade is the number of puppets who’ve appeared in the casting, sometimes in productions made for children (Macbeth at Little Angel; The Tempest, Little Angel/RSC); sometimes in productions made for adults (A Midsummer Night’s Dream at both Bristol Old Vic/Handspring and Krymov Laboratory; Propeller’s Richard III designed by Michael Pavelka). This chapter examines seven productions to give a sense of the variety of puppet performances on offer and to discover something about the effect of casting puppets: what puppets do, what they bring to performance, and how they act upon Shakespeare to make audiences ‘see new’, see differently. Through its discoveries, it makes a stab at theorizing how puppets behaves in the field of representation on postmodern Shakespearean stages and identifies ‘genealogies of performance’ that connect the puppets with their performances.
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