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- W1589499669 abstract "Shakespeare and the Materiality of Performance, by Erika T. Lin. New York: Palgrave Macmillan, 2012. Pp. 256. Hardback $85.00.We cannot break down the before it was erected, Lin declares in her thoroughly researched monograph on modern performance practices. This book combines a broad historicist approach with concrete elements of modern staging, correcting many wide-spread assumptions about modern performance, especially involving sight and sound.Lin's work moves away from the narrowness of recent studies of things and reverts back to a broader, Foucauldian archaeology of modem performance.She situates her argument in the context of material studies of texts and objects. However, she significantly broadens the scope of her study to include an unusually wide range of primary sources, both literary and non-literary, as well as secondary sources from many fields, including theater history, art history, architecture, and even quantum physics. She also puts her focus squarely on performance itself in the five chapters of her book, since, as she puts it, the people whom modern practitioners most had to please in order to succeed were not primarily readers of texts, but rather those who will otherwise pelt the stage with debris.The book opens with a representative example of staged violence: the eyegouging scene from King Lear. While modern performances often hide the gouging from the audience, Lin maintains that the modern theater would have foregrounded such violence, calling attention to the theatrical techniques used to represent it and to the ambiguity about what audiences were actually seeing and hearing during such scenes. Her introduction also includes a very useful summary of the ambiguity surrounding definitions of the modern jig.Chapter 1 redefines Robert Weimann's much-referenced concepts of locus and platea. Lin posits that scholars apply these concepts too literally to modem performance, equating locus to upstage, and platea to downstage, and that this shows their fourth wall mentality. She points out that upstage and downstage did not exist as theatrical terms until the nineteenth century, and that the idea of being closer to the was much more complex in the modern public playhouse, with its hierarchical ideas about the use of vertical space, and audience members seeing from a variety of positions. Lin might have consulted practitioners or managers at the Globe in London to find out for sure whether the Lords' seats are priced lower than the seats facing the stage because of poor sight lines, as she suggests in this chapter, or rather because patrons don't want to feel like part of the show.Chapter 2, the most compelling of the book, uses an extended discussion of Love's Labour's Lost to explore how the act of seeing was different for modem audiences than it is for us. She uses the scene in which the King of Navarre and three of his lords spy on one another. All are on stage, and yet the characters do not see that they are being watched by the others. The tradition of putting Berowne in a tree to hide him from the other figures onstage was not an modem one, says Lin; modem audiences did not require such realism. She chastises scholars for their proscenium thinking, which imagines an ideal viewer in the center of the orchestra. Instead, she says, we need to realize that the use of perspective and depth that we are used to seeing in theaters did not then apply. Lin shows a puzzling tendency to treat the early modern as a monoculture. If modern stage space was arranged hierarchically, as she shows here, then why wouldn't audience response have been as well? …" @default.
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