Reenacting Shakespeare in the Shakespeare aftermath : the intermedial turn and turn to embodiment

In the Shakespeare aftermath—where all things Shakespearean are available for reassembly and reenactment—experimental transactions with Shakespeare become consequential events in their own right, informed by technologies of performance and display that defy conventional staging and filmic practices. Reenactment signifies here both an __un__doing and a __re__doing, above all a doing __differently__ of what otherwise continues to be enacted as the same. Rooted in the modernist avant-garde, this revisionary approach to models of the past is advanced by theater artists and filmmakers whose number includes Romeo Castellucci, Annie Dorsen, Peter Greenaway, Thomas Ostermeier, Ivo van Hove, and New York’s Wooster Group, among others. Although the intermedial turn taken by such artists heralds a virtual future, this book demonstrates that embodiment—in more diverse forms than ever before—continues to exert expressive force in Shakespearean reproduction’s turning world. Front Matter ....Pages i-xvii Front Matter ....Pages 1-1 Reenacting Shakespeare in the Shakespeare Aftermath (Thomas Cartelli)....Pages 3-46 The Intermedial Turn and Turn to Embodiment (Thomas Cartelli)....Pages 47-81 Front Matter ....Pages 83-83 Ghosts of History: Edward Bond’s Lear & Bingo and Heiner Müller’s Hamletmachine (Thomas Cartelli)....Pages 85-118 States of Exception: Remembering Shakespeare Differently in Anatomie Titus, Forget Hamlet & Haider (Thomas Cartelli)....Pages 119-151 Peter Greenaway’s Montage of Attractions: Prospero’s Books and the Paratextual Imagination (Thomas Cartelli)....Pages 153-182 Front Matter ....Pages 183-183 Channeling the Ghosts: The Wooster Group’s Remediation of the 1964 Electronovision Hamlet (Thomas Cartelli)....Pages 185-213 High-Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman Tragedies and the Problem of Spectatorship (Thomas Cartelli)....Pages 215-253 Disassembly, Meaning-Making and Montage in Annie Dorsen’s A Piece of Work and Péter Lichter and Bori Máté’s The Rub (Thomas Cartelli)....Pages 255-291 Coda: Mixed Reality—The Virtual Future and Return to Embodiment (Thomas Cartelli)....Pages 293-306 Back Matter ....Pages 307-343 "In the Shakespeare aftermath--where all things Shakespearean are available for reassembly and reenactment--experimental transactions with Shakespeare become consequential events in their own right, informed by technologies of performance and display that defy conventional staging and filmic practices. Reenactment signifies here both an undoing and a redoing, above all a doing differently of what otherwise continues to be enacted as the same. Rooted in the modernist avant-garde, this revisionary approach to models of the past is advanced by theater artists and filmmakers whose number includes Romeo Castellucci, Annie Dorsen, Peter Greenaway, Thomas Ostermeier, Ivo van Hove, and New York's Wooster Group, among others. Although the intermedial turn taken by such artists heralds a virtual future, this book demonstrates that embodiment--in more diverse forms than ever before--continues to exert expressive force in Shakespearean reproduction's turning world."--Publisher In the Shakespeare aftermath—where all things Shakespearean are available for reassembly and reenactment—experimental transactions with Shakespeare become consequential events in their own right, informed by technologies of performance and display that defy conventional staging and filmic practices. Reenactment signifies here both an un doing and a re doing, above all a doing differently of what otherwise continues to be enacted as the same. Rooted in the modernist avant-garde, this revisionary approach to models of the past is advanced by theater artists and filmmakers whose number includes Romeo Castellucci, Annie Dorsen, Peter Greenaway, Thomas Ostermeier, Ivo van Hove, and New York’s Wooster Group, among others. Although the intermedial turn taken by such artists heralds a virtual future, this book demonstrates that embodiment—in more diverse forms than ever before—continues to exert expressive force in Shakespearean reproduction’s turning world.