230 x 155 mm. 240pp Illustrated... [In stock in Australia, for immediate delivery]
In this collection of 15 essays, stage directions in Hamlet become sites of contested interpretations even as the essays individually attempt to restore the viability and spiritus motus to the staging practice. For students of Renaissance theatre, this volume is designed to further the close examination of the stage direction as reflective of Renaissance theatrical practice and to expand upon the work of Alan Desssen, Leslie Thomson, and David Bevington. For students of Shakespeare, this collection focuses on Hamlet, a play that represents Shakespeare's sensitive treatment of the early modern character, a play concerned with acting and staging and achieving a dramatic coherence between action and word, a play that remains universally relevant as a study of the modern condition.
For those engaged in theatrical productions, these essays present a rich record of cinematic and staged productions that are historically engaged as they interpret the staged action. For textual scholars, these essays reflect further on the vagaries of the stage direction in its variant forms with Hamlet, a text that records in its three versions often distinct treatment of the same dramatic moment.
Thus, the subject of stage directions in Hamlet, those brief semiotic codes that are embellished by historical, theatrical, and cultural considerations, produces a rigorous response from contemporary scholars, as this collection attests. Each essay uses the textual provenance of the quartos and the folio for different ends. Scholars of Hamlet like John Meagher, Ann Thompson, and Neil Taylor, Pamela Mason, George Walton Williams, Bernice W. Kliman, James Hirsh, and James Lusardi and June Schlueter attend to the kind of historical recovery of the staged effect that Alan Dessen has professed; others such as Steven Urkowirtz, Edna Boris, David Brailow, and Iska Alter consider the implications of the textual stage direction for its energy in generating modern productions, asserting the power of the stage direction to be reinscribed for each generation of playgoers; and still other scholars like Frank Nicholas Clary, Alan Young, and Hardin Aasand examine the rich cultural value of stage directions in iconographic terms as they afterward produce visual documents that reflect and further effect dramatic productions. In his coda, Eric Rasmussen reminds the reader that stage directions deserve renewed interest as important textual elements long neglected by literary critics.
This volume encompasses essays that are guardedly inductive in their critical approaches, as well as that enunciate the production of stage business as a cultural interplay between productions and social agencies outside the theatre.
^ Drama ^ Shakespeare
|Artist / Author||Hardin L. AASAND (editor)|
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