This book is the first edited collection to explore Shakespeare's life as depicted on the modern stage and screen. Focusing on the years 1998-2023, it uniquely identifies a 25-year trend for depicting Shakespeare, his family and his social circle in theatre, film and television.
Interrogating Shakespeare's afterlife across stage and screen media, the volume explores continuities and changes in the form since the release of Shakespeare in Love, which it positions as the progenitor of recent Shakespearean biofictions in Anglo-American culture. It traces these developments through the 21st century, from pivotal moments such as the Shakespeare 400 celebrations in 2016, up to the quatercentenary of the publication of the First Folio, whose portrait helped make the author a globally recognisable icon. The collection takes account of recent Anglo-American socio-political, cultural and literary concerns including feminism, digital media and the biopic and superhero genres.
The wide variety of works discussed range from All is True and Hamnet to Upstart Crow, Bill and even The Lego Movie. Offering insights from actors, dramatists and literary and performance scholars, it considers why artists are drawn to Shakespeare as a character and how theatre and screen media mediate his status as literary genius.
Recenzijos
In a post-Barthesian/Foucauldian world, the Author remains a figure of desire for many critics, writers, actors and other artists. The Shakespeares including Anne, Hamnet and Susanna as well as William are multifaceted fictional characters in their own right, embodying complex ideas about family, identity, art, business and more. Shakespearean Biofiction on the Contemporary Stage and Screen is an indispensable guide to the rich world of Shakespeare-adjacent fictions, bringing together academics and artists to explain and trouble the irresistible appeal of Shakespeares gappy biography and the diverse ways in which Shakespeare and his contemporaries are deployed to speak to todays concerns. * Peter Kirwan, Mary Baldwin University, USA * This volume is a window to the creative, critical and cross-media possibilities of biofiction. It places scholarly work in productive conversation with insights from practitioners to illuminate Shakespeare's cultural afterlife. Meanwhile, attention to Shakespeare's social and professional circles broadens the reach of this important contribution to Shakespeare and adaptation studies, and allow it to enter a larger, timely discussion of the myth of the singular (male) creative genius. * Anna Blackwell, University of Nottingham, UK *
Daugiau informacijos
The first edited collection to explore the significance of the trend for depicting Shakespeares life on stage and screen in the 21st century, with contributions from scholars and creative practitioners.
Notes on Contributors
Acknowledgements
Note on the Text
Introduction: Shakespeare and his Social Circle on the Stage and Screen,
1998-2023, Edel Semple (University College Cork, Ireland)
Part One: Author
1. Shakespeare Regrets: Redefining the Heritage Biopic in All Is True,
Clara Calvo (University of Murcia, Spain)
2. Ill Drown my Book: Imagining Shakespeares Long Lost First Play, Austin
Tichenor (Reduced Shakespeare Company, USA)
3. Scarcea Blot in his Papers: Shakespearean Inspiration on Screen, Judith
Buchanan (University of Oxford, UK)
4. Interview on Co-writing and Performing in Bill (dir. Richard Bracewell,
2015), Laurence Rickard (BAFTA-winning comedy writer and actor) in
conversation with Ronan Hatfull and Edel Semple
5. The Thing is, Youre a Douche: Fourth Wave Feminist Representations of
Shakespeare in Emilia and & Juliet, Gemma Allred (University of Neuchātel,
Switzerland)
Part Two: Family
6. Shakespeares Dead, Long Live his Widow! One-woman Plays about Anne
Hathaway, Edel Semple (University College Cork, Ireland)
7. Interview on Playing Sue Shakespeare in Upstart Crow (BBC, 2016-2021),
Helen Monks (writer, actor, and comedian) in conversation with Ronan Hatfull
and Edel Semple
8. Father Shakespeare: Grieving for Hamnet on Stage and Screen, Katherine
Scheil (University of Minnesota, USA)
9. Shakespeare and Son in All Is True and OFarrells Hamnet, Paul Franssen
(Utrecht University, the Netherlands)
10. Interview on Writing the Play Shakespeares Sister (2015), Emma Whipday
(Newcastle University, UK; playwright) in conversation with Ronan Hatfull and
Edel Semple
Part Three: Theatre
11. Imagining the Formative Presence of Early Modern Women in Shakespeares
Circle, Naomi J. Miller (Smith College, USA)
12. Thats Power: Representations of Performance in Shakespearean
Biofiction, Stephen Purcell (University of Warwick, UK)
13. Reverse Engineering Shakespeare: TNTs Will as Repertory Studies
Criticism, Aaron Proudfoot (University of Connecticut, USA)
14. Enter Burbage: The Origin Story of an Acting Superhero in Craig Pearces
Will, Michael D. Friedman (University of Scranton, USA)
15. #Sharlowe: Connecting Shakespeare and Marlowe in Only Lovers Left Alive,
Upstart Crow, and Will, Ronan Hatfull (University of Warwick, UK)
Part Four: Afterlives
16. More Shakespeare than Shakespeare: The Notion of Uber-Shakespeare in
The Lego Movie
Benjamin Broadribb (The Shakespeare Institute, University of Birmingham, UK)
Afterword: Global Shakespearean Biofictions
Ramona Wray (Queen's University Belfast, UK)
Index
Edel Semple is Lecturer in Shakespeare Studies at University College Cork, Ireland.
Ronan Hatfull is Lecturer and Senior Associate Tutor in Theatre and Performance Studies at the University of Warwick, UK.
