دانلود کتاب Shakespeare and the Challenge of the Contemporary: Performance, Politics and Aesthetics

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Half Title\nTitle Page\nCopyright Page\nDedication\nContents\nFigures\nForeword: Time is of the essence\nNote on translation\nAcknowledgements\nIntroduction: The challenge of the contemporary in Shakespearean performance\n Shakespeare and the contemporary\n Shakespeare in Portugal\n Portuguese Shakespeare in a global context\n Contemporary Portuguese Shakespeares\n Characteristics of the contemporary in Shakespearean performance\n The occasional ensemble\n Doing more for less: Performing Shakespeare\n Directing Shakespeare\n Dramaturgies of the Shakespearean trace\n Expanded performance spaces\n Emancipated spectators\nChapter 1: Border crossings: Intermedial collaborations in Teatro Praga’s Shakespeare trilogy\n What’s love got to do with it? A Midsummer Night’s Dream (2010)\n Sweet dreams are made of this: The Tempest (2013)\n The best things in life are free: Timon of Athens (2019)\n Redefining intermedial collaboration\nChapter 2: Memories of the future: Tiago Rodrigues and dramaturgies of the Shakespearean trace\n ‘A Monster too horrible to be shown’: Three Fingers below the Knee (2012)\n By Heart (2013)\n Enter the present: Antony and Cleopatra (2014)\n Memories of the future\nChapter 3: Cruel optimism: Nuno Cardoso’s political Shakespeares\n (Re)defining political Shakespeare\n The unfinished revolution\n Staging the nation\n Richard II (2007)\n Measure for Measure (2012)\n Coriolanus (2014)\n Timon of Athens (2018)\n Political Shakespeare as a discourse of cruel optimism\nChapter 4: Empowering the spectator: Christiane Jatahy’s The Moving Forest\n The dramaturgy of The Moving Forest\n Immersive performance and implicated spectatorship\n Documenting process\n The politics of situation\nChapter 5: Licensing experiment: mala voadora’s Hamlet \n Locating authority in contemporary performance\n Hamlet in Portugal\n Not that Hamlet\n The raw material of the ‘Bad’ Quarto\n Multiple Hamlets\n Scenography and contested authority\n Melodramatic display and parodic performance\n Metatheatrical play and gender-aware performance\n Where is Hamlet?\nChapter 6: Performance matters: Contemporary Shakespearean performance criticism\n Challenges for contemporary performance criticism\n Corporeality and embodiment\n Participation-observation\n (Trans)national flows\n Performance knowledge\n Criticism in practice 1: Reviewing Shakespeare and online reviewing\n Criticism in practice 2: The 2018 Craiova Festival\n Towards performative criticism\nNotes\n Introduction\n Chapter 1\n Chapter 2\n Chapter 3\n Chapter 4\n Chapter 5\n Chapter 6\nReferences\nIndex