Abstract:This article considers how companies, actors, reviewers, and audiences shape narratives about Shakespeare, gender, and race when staging, viewing, and discussing the many all-female and nonbinary productions changing the landscape of local Seattle theater. The shows of upstart crow collective and Rebel Kat Productions disrupt myths of Shakespearean universality, manifest regional responses to countrywide political events, and provide an embodied experience in which to respond to and process national traumas. Attention to spectator narratives about upstart crow's Bring Down the House (2017) and Richard III (2018), as well as Rebel Kat's Coriolanus (2017), reveal evolving regional attitudes toward Shakespeare in the context of political events; local desires for gender-inclusive theater; and local obfuscations of the meaning of race in performance.
摘要:本文探讨了公司、演员、评论家和观众如何在上演、观看和讨论许多全女性和非二元的作品时塑造关于莎士比亚、性别和种族的叙事，这些作品改变了西雅图当地剧院的景观。新贵乌鸦集团和Rebel Kat Productions的表演打破了莎士比亚式的普世性神话，展示了对全国性政治事件的地区性反应，并提供了一种具体的体验，在这种体验中，人们可以回应和处理民族创伤。对暴发户克劳的《打倒房子》(2017)和《理查三世》(2018)以及Rebel Kat的《科利奥兰纳斯》(2017)的观众叙事的关注，揭示了在政治事件背景下，地区对莎士比亚的态度不断演变;当地对性别包容戏剧的渴望;以及对表演中种族意义的局部混淆。
{"title":"Women's Shakespeare in Seattle: Regional Performance and Spectatorship","authors":"A. Meyer","doi":"10.1353/shb.2021.0041","DOIUrl":"https://doi.org/10.1353/shb.2021.0041","url":null,"abstract":"Abstract:This article considers how companies, actors, reviewers, and audiences shape narratives about Shakespeare, gender, and race when staging, viewing, and discussing the many all-female and nonbinary productions changing the landscape of local Seattle theater. The shows of upstart crow collective and Rebel Kat Productions disrupt myths of Shakespearean universality, manifest regional responses to countrywide political events, and provide an embodied experience in which to respond to and process national traumas. Attention to spectator narratives about upstart crow's Bring Down the House (2017) and Richard III (2018), as well as Rebel Kat's Coriolanus (2017), reveal evolving regional attitudes toward Shakespeare in the context of political events; local desires for gender-inclusive theater; and local obfuscations of the meaning of race in performance.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"274 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122663173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In early 2020, at least 365 performance organizations devoted to Shakespeare were actively performing or planning productions in the United States of America. Approximately 130 of these, around one third, constitute grassroots or amateur performance companies. These organizations, spread throughout the country, have a long, rich, and largely undiscovered history in the United States. This article provides historical and contemporary context for amateur Shakespeare performance through case studies drawn from Maine, Kansas, and California. These case studies illustrate discernable patterns and trends within the grassroots performance model that have endured for over a century. In Maine, I examine two amateur performance companies that entwine original work with local civic engagement. Next, to understand the desire for recurring performances aided by large-scale casts, I trace the forgotten legacy of the Shakespeare festival in Kinsley, Kansas, and its lasting impact on the contemporary regional stage. Finally, I analyze an amateur organization, the Pasadena Community Playhouse, the first company in the US to perform the entire canon. Ultimately, this article posits that these grassroots organizations, united around a versatile canon of plays, are a vital and enduring part of a widespread performance ecosystem in the United States.
{"title":"Grassroots Shakespeare: \"I love Shakespeare, and I live here\": Amateur Shakespeare Performance in American Communities","authors":"William Floyd Wolfgang","doi":"10.1353/shb.2021.0038","DOIUrl":"https://doi.org/10.1353/shb.2021.0038","url":null,"abstract":"Abstract:In early 2020, at least 365 performance organizations devoted to Shakespeare were actively performing or planning productions in the United States of America. Approximately 130 of these, around one third, constitute grassroots or amateur performance companies. These organizations, spread throughout the country, have a long, rich, and largely undiscovered history in the United States. This article provides historical and contemporary context for amateur Shakespeare performance through case studies drawn from Maine, Kansas, and California. These case studies illustrate discernable patterns and trends within the grassroots performance model that have endured for over a century. In Maine, I examine two amateur performance companies that entwine original work with local civic engagement. Next, to understand the desire for recurring performances aided by large-scale casts, I trace the forgotten legacy of the Shakespeare festival in Kinsley, Kansas, and its lasting impact on the contemporary regional stage. Finally, I analyze an amateur organization, the Pasadena Community Playhouse, the first company in the US to perform the entire canon. Ultimately, this article posits that these grassroots organizations, united around a versatile canon of plays, are a vital and enduring part of a widespread performance ecosystem in the United States.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123138650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay discusses two Atlanta Shakespeare companies, Georgia Shakespeare (formerly the Georgia Shakespeare Festival) and the Atlanta Shakespeare Company (known locally as The Shakespeare Tavern) in terms of their different rehearsal approaches and budget structures. It argues that the former company (now defunct) invested in the region through its payment of higher actor rates and longer rehearsal periods, while the latter justified lower payments through a claim to early modern production practices which actually privilege author and text over the value of those who do the necessary work of production in the present. As such, the Tavern manifests the paradox of a regional company whose ideology and working practice is fundamentally anti-regional, while Georgia Shakespeare's commitment to rigorous, inventive work and support of its personnel finally proved fiscally untenable. The demise of Georgia Shakespeare has left a significant hole in the region's LORT arts scene which cannot be filled by smaller, less well-funded companies; as larger outfits have moved steadily toward more populist commercial fare, Shakespeare is being monopolized by culturally nostalgic and conservative operations.
{"title":"Ended Revels: The Absence Left by Georgia Shakespeare","authors":"A. Hartley","doi":"10.1353/shb.2021.0044","DOIUrl":"https://doi.org/10.1353/shb.2021.0044","url":null,"abstract":"Abstract:This essay discusses two Atlanta Shakespeare companies, Georgia Shakespeare (formerly the Georgia Shakespeare Festival) and the Atlanta Shakespeare Company (known locally as The Shakespeare Tavern) in terms of their different rehearsal approaches and budget structures. It argues that the former company (now defunct) invested in the region through its payment of higher actor rates and longer rehearsal periods, while the latter justified lower payments through a claim to early modern production practices which actually privilege author and text over the value of those who do the necessary work of production in the present. As such, the Tavern manifests the paradox of a regional company whose ideology and working practice is fundamentally anti-regional, while Georgia Shakespeare's commitment to rigorous, inventive work and support of its personnel finally proved fiscally untenable. The demise of Georgia Shakespeare has left a significant hole in the region's LORT arts scene which cannot be filled by smaller, less well-funded companies; as larger outfits have moved steadily toward more populist commercial fare, Shakespeare is being monopolized by culturally nostalgic and conservative operations.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133207110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"All the Devils Are Here: How Shakespeare Invented the Villain (review)","authors":"N. Sloboda","doi":"10.1353/shb.2021.0053","DOIUrl":"https://doi.org/10.1353/shb.2021.0053","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131620933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stages of Loss: The English Comedians and Their Reception by George Oppitz-Trotman (review)","authors":"Matteo Pangallo","doi":"10.1353/shb.2021.0054","DOIUrl":"https://doi.org/10.1353/shb.2021.0054","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132904525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Taming of the Shrew (review)","authors":"A. Scott","doi":"10.1353/shb.2021.0052","DOIUrl":"https://doi.org/10.1353/shb.2021.0052","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127626100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Chicago is home to two theater companies committed by name to the works of Shakespeare and to the city itself: Chicago Shakespeare Theater and The Shakespeare Project of Chicago. The itinerant nature of The Shakespeare Project of Chicago as a company with a foregrounded urban affiliation that performs primarily on suburban tour parallels the itinerant practices of early modern London theater companies. Both temporal theatrical contexts require(d) an array of support structures within the community and types of patronage for success. Both early modern theater companies and The Shakespeare Project of Chicago pursue itineracy via a patterned sequence of journeys through geographical space, creating a spatio-temporal region that exceeds the bounds of the former's ostensible location in London and/or the court and the latter's nominal home in Chicago. I argue that the common ground that exists between these theater companies that perform the same texts at a remove of four centuries and four thousand miles offers a foundation for constructing a deeper understanding of early modern theatrical company practice, patronage, and touring. Suiting the words and action to the venue and to the tastes of the theater company's patrons abide as imperatives that influence decisions from the overall aesthetic vision to the cut of the text to the stage business. Tracking these choices and the matrix of objectives governing them reveals the ways in which theater not only responds to and reflects, but also builds community, now and then.
{"title":"Library Patrons: On Tour with The Shakespeare Project of Chicago","authors":"Regina M. Buccola","doi":"10.1353/shb.2021.0043","DOIUrl":"https://doi.org/10.1353/shb.2021.0043","url":null,"abstract":"Abstract:Chicago is home to two theater companies committed by name to the works of Shakespeare and to the city itself: Chicago Shakespeare Theater and The Shakespeare Project of Chicago. The itinerant nature of The Shakespeare Project of Chicago as a company with a foregrounded urban affiliation that performs primarily on suburban tour parallels the itinerant practices of early modern London theater companies. Both temporal theatrical contexts require(d) an array of support structures within the community and types of patronage for success. Both early modern theater companies and The Shakespeare Project of Chicago pursue itineracy via a patterned sequence of journeys through geographical space, creating a spatio-temporal region that exceeds the bounds of the former's ostensible location in London and/or the court and the latter's nominal home in Chicago. I argue that the common ground that exists between these theater companies that perform the same texts at a remove of four centuries and four thousand miles offers a foundation for constructing a deeper understanding of early modern theatrical company practice, patronage, and touring. Suiting the words and action to the venue and to the tastes of the theater company's patrons abide as imperatives that influence decisions from the overall aesthetic vision to the cut of the text to the stage business. Tracking these choices and the matrix of objectives governing them reveals the ways in which theater not only responds to and reflects, but also builds community, now and then.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"146 9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129866432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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