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- W97488021 abstract "Shakespearian performance scholarship is arguably looking for a methodology that can integrate the study of performative work with critical analysis and theory. As an intervention in this discussion, I propose a poetics of performance, a term intended as a playful appropriation of Stephen Greenblatt's poetics of culture but one that restores the central omission of actual performance to his study of Renaissance subjectivity in dramatic texts. This is a systematic study of four plays, The Taming of the Shrew, The Merchant of Venice, Hamlet and Richard II in productions on stage and screen between 1927-1995, arranged diachronically and in dialogic pairings (drawing on 'Bakhtinian thought'). Utilising Greenblatt's discussion of cultural exchange and symbolic acquisition, and restoring Greenblatt's omission of diachronic 'appropriation', I consider the reception of the performative work, drawing attention to interpretative patterns, and enquire into the structuring historical contingency of the Renaissance locus. In considering the 'iteration' of a Shakespearian text (ie: that which enables it to activate transpositions beyond its originating history) I suggest that materialist critics are responding to a valued art' work and that it is Shakespearian performance scholarship itself that has created the anomalous page/stage debate which it presently seeks to circumvent." @default.
- W97488021 created "2016-06-24" @default.
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- W97488021 date "1999-01-01" @default.
- W97488021 modified "2023-09-23" @default.
- W97488021 title "Shakespeare's dialogic stage: towards a poetics of performance" @default.
- W97488021 hasPublicationYear "1999" @default.
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