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Edward McLean Test. David L Orvis. Joseph Patrick Ward. Mary C. Ivo Kamps.

Harold Weber. Adam Zucker.

Queering childhood in early modern English drama and culture in SearchWorks catalog

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Harry Potter. Popular Features. New Releases. Description This project takes the human body and the bodily senses as joints that articulate new kinds of connections between church and theatre and overturns a longstanding notion about theatrical phenomenology in this period.

Product details Format Hardback pages Dimensions x x Illustrations note 11 Illustrations, black and white; XV, p. Other books in this series. At the First Table Jodi Campbell. Add to basket. Race and Rhetoric in the Renaissance Ian Smith. Words Like Daggers Kirilka Stavreva.

Queer Milton David L Orvis.

Reformations of the Body

Travel and Travail Mary C. Early Modern Ecostudies Ivo Kamps.

Localizing Caroline Drama Adam Zucker. Our contributors in this volume represent a range of disciplinary backgrounds, including drama, performance, translation, and education, from a range of cultural and professional contexts. With a particular focus on interactive street performances of Shakespearian comedies in France in recent years by street theatre companies couverts, Royal de Luxe , and La Compagnie des Chemins de Terre , Fayard explores the content of a purportedly authentic theatre in which the iconic Author is supposed to be dead.

For Fayard, relocating classical drama into the unexpected urban spaces of the car park or the village square questions the very core of what is being performed and why it is being performed at all. Fayard shows that the blurring of codes of performance and of the boundaries between author, artist, and spectator that characterizes street theatre also affects the borders between fiction and reality, tragedy and comedy. Is it permissible to laugh at death and dead bodies, when contemporary audiences are taught—and continue to learn—to take grief seriously?

When is it appropriate to do so?

Idolatry, Sacrifice, and Early Modern Theater

As Valentini records, the effect of the Shakespearean text on prisoners is well documented. Her essay demonstrates that participation in a performance of Julius Caesar had a special resonance for the inmates in Rebibbia District Prison—a space, like the theatre, with its own internal rules and boundaries. This effect was enhanced by the work of translation. The decision not to show their corpses—thus to memorialize bodies that do not actually die—is thus a device whereby Shakespeare chronicles the narrative of history.

Medieval iconographies of death depict the casual intrusion into the everyday space of the living by the dead—a useful reminder of their mortal condition.


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He examines these anxieties with particular attention to the deathbed tableau, the danse macabre , and the transi tomb, and to the mutual transgression of the boundaries between the living and dead. Clearly the Shakespearian dead body lives on and speaks loudly. However—as all these essays in their contrasting ways convincingly show—its returns are not merely a question of haunting or taunting the living, but more the overlapping, shifting, permeable frontiers of parallel worlds, multi-layered and interdependent histories.

As a revenant , the Shakespearian dead body moves easily, indeed naturally, within all cultural environments, inhabiting the interlocking spaces of remediation, translation, and performance. It speaks of both mortality and survival, forgetting and remembering, retribution and redemption. In its dual condition as both present and absent, embodied and disembodied, it is a signifier for the active role of the past in the present, the present in the past.

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For readers and audiences in the twenty-first century, well versed in the deployment of multiple points of view, the past as a space of action and reaction is a reality, not an illusion. This important recognition situates individual bodies, alive and dead, as members of living communities. It also serves to disillusion those who cling tenaciously to notions of identity as fixed and authentic. Cultural institutions such as the theatre, particularly Shakespearian theatre, are of course privileged loci for memory work.