Shakespeare-cut : rethinking cutwork in an age of distraction PDF
Preview Shakespeare-cut : rethinking cutwork in an age of distraction
OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi Shakespeare|Cut OxfordWellsShakespeareLectures OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi Shakespeare|Cut Rethinking Cutwork in an Age of Distraction BRUCE R. SMITH 1 OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi 3 GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries ©BruceR.Smith2016 Themoralrightsoftheauthorhavebeenasserted FirstEditionpublishedin2016 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer PublishedintheUnitedStatesofAmericabyOxfordUniversityPress 198MadisonAvenue,NewYork,NY10016,UnitedStatesofAmerica BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressControlNumber:2016930521 ISBN 978–0–19–873552–6 PrintedinGreatBritainby ClaysLtd,StIvesplc LinkstothirdpartywebsitesareprovidedbyOxfordingoodfaithand forinformationonly.Oxforddisclaimsanyresponsibilityforthematerials containedinanythirdpartywebsitereferencedinthiswork. OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi Table of Contents Acknowledgments vii Illustrations ix Tables xiii Citations xv 1. CutsIn,To,By,From,andWithShakespeare:Forms andEffectsAcrossFourCenturies 1 2. Cutwork:CuttingOutPlaysandPuttingThemOn 29 3. CutandRun:PerceptualCutsinHearing,Seeing,and Remembering 71 4. AttheCuttingEdge:InterfacesBetweenFigureandLife 100 5. TheNewCut:ShufflingCutsSince1900 144 SourcesCited 189 Index 203 OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi Acknowledgments The thought that “cut” might be aphenomenon worth investigating firstoccurredtomein2012whilewritingachapteron“Makingthe Scene” for The Cambridge Guide to the Worlds of Shakespeare. Cuts and cutting, I realized, were involved in all the varieties of “scene” that I was investigating: marked units in printed texts, engraved illustra- tions,extractsinanthologiesof“beautiesofShakespeare,”outrageous behavior onstage and off. I am grateful to the Bogliasco Foundation foratwo-monthfellowshipattheLigurianStudyCenterthatnotonly facilitatedthewritingofthechapterbutputmeintoconversationwith fellow residents whose work involves cutwork, including Yotam Haber, a composer who incorporates archived sounds and visual images in his work; Mary Ellen Strom, a video producer; and Stacy Woolf,anhistorianofAmericanmusicaltheater.Iextendthankstoall ofmyfellowfellowsatBogliasco,buttothesethreeinparticular.My movefromachapteronscene-makingtoaprojectedbookoncutwork wasencouragedatjusttherightmomentbyKatherineRowe. For the invitation to deliver the 2014 Oxford Wells Shakespeare Lectures, for endorsement of my proposed topic, and for hospitality during my time at Oxford, I want to thank the Faculty of English, particularlyLaurieMaguire,EmmaSmith,TiffanyStern,BartVanEs, andSeamusPerry,ChairoftheFacultyBoardatthetimeofmyvisit. Broaderthanksareduetothestudentsandcolleagueswhoanswered my questions and calls for advice at various times and pointed me toward instances of cutwork that I would otherwise have missed: EmilyAnderson,GinaBloom,AnstonBosman,SusanBennett,David Carnegie, Sharon Carnicke, Christie Carson, Thomas Cartelli, Karin Chien, Christy Desmet, Michael Dobson, Richard Edinger, Gray Fisher, Brett Hirsch, Peter Holland, Farah Karim-Cooper, Jeffrey Knight, Kevin Laam, Douglas Lanier, Jeffrey Masten, Jean- Christophe Mayer, Jennifer Richards, Jessica Rosenberg, Amanda Ruud, Rebecca Schneider, Stuart Sillars, Steven Urkowitz, Paul Werstine,andRichardWistreich.Manypeopleofferedpassingsuggestions alongtheway.IfIhaveoverlookedanyofthem,Idoapologize. OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi viii Acknowledgments RegardingShakespeare-inspiredvideogames,ItaketoheartEspen Aarseth’sadmonitionthatnooneshouldanalyzethemwithoutplay- ingthem:“Ifwecommentongamesorusegamesinourculturaland aesthetic analysis,” Aarseth insists, “we should play those games” (Aarseth2012:190).Ihavenot,Iconfess,beenabletotakeAarseth’s advice in every case, but I have instead framed my comments by drawing ontheexpertiseofsomeofmystudentsattheUniversity of SouthernCalifornia,severalofwhomareGameDesignminorsinthe School of Cinematic Arts. I want to thank in particular Esteban Farjado, Jordan Klein, Patrick Tam, Kelsi Yu, and Yingbao Zhu. Anotherstudent,JadeMatias-Bell,introducedmetoJamesP.Carse’s very useful distinction between “finite” and “infinite” games. For directing me to particular YouTube videos I am grateful to two otherstudents:OmarZineldineatUSCandCarlaJennessinMiddle- buryCollege’sBreadLoafSchoolofEnglishgraduateprogram. At Oxford University Press I have met with unfailing encourage- ment,soundadvice,andsustainingpatiencefromJacquelineNorton, Senior Commissioning Editor for Literature, and Eleanor Collins, Senior Assistant Commissioning Editor for Literature. I thank both ofthemfortheirconsummateprofessionalism.Foreditorialassistance IamgratefultomyhusbandGordonDavis.HelenB.Cooper’scopy- editing was meticulous and tactful. Subvention funds forillustrations were generously made available by Dornsife College of Letters, Arts and Sciences at the University of Southern California, through the good graces of Peter Mancall, Vice Dean for the Humanities and Social Sciences. In connection with illustrations and quotations, I want to extend special thanks to Isaac Gewirtz, Curator of the Henry W. and Albert A. Berg Collection in the New York Public Library, for giving me access to the unpublished papers of William S. Burroughs; to Percy Stubbs of the Wylie Agency for granting permission to publish excerpts from the papers; and to the Tim Tadder Studio, Encinitas, California, for use of the photograph “Oncemoreuntothebreach”fromthesuite“DivingintoCharacter.” —B.R.S. LosAngeles, February2016 OUPCORRECTEDPROOF–FINAL,17/5/2016,SPi Illustrations 1. TimTadder,“Oncemoreuntothebreach,”from“Immersion: DivingintoCharacter.”BypermissionofTimTadder Photography. 2 2. DiegoVelázquez,“TheToiletofVenus”(1647–51),National GalleryLondon,detailofphotograph(c.1914)showing damageinflictedbyMaryRichardson.Publicdomain. 6 3. ThomasGrieve,preliminarydesigninwatercolorforthe SiegeofHarfleurinCharlesKean’sproductionofHenryV (1859).©VictoriaandAlbertMuseum. 11 4. JohannesAmosComenius,“TheStudy”(detail),fromOrbis SensualiumPictus…VisibleWorld,or,APictureandNomenclature ofalltheChiefThingsthatareintheWorld,andofMen’sEmployments Therein(London,1685).BypermissionoftheFolger ShakespeareLibrary. 13 5. WilliamShakespeare,Comedies,Histories,andTragedies(1623), rustshadowofscissorsleftinFolgerLibraryFirstFoliocopy 63,sig.rr3v.BypermissionoftheFolgerShakespeareLibrary. 14 6. FragmentofpromptbookforHamlet,SmockAlleyTheatre, Dublin(1660s–1680s).BypermissionoftheResearch Collection,UniversityofEdinburghLibrary. 21 7A. WilliamShakespeare,TheTragedyofHamlet,PrinceofDenmark asitisnowactedatHisHighnesstheDukeofYork’sTheatre(1676), sig.I1.BypermissionoftheFolgerShakespeareLibrary. 23 7B. WilliamShakespeare,TheWorksofWilliamShakespear,ed. AlexanderPope(1725),vol.6,page362.TheHuntington Library. 23 8. TitlepagetoJohnCooke,Greene’sTuQuoque,orTheCityGallant (1614).BypermissionoftheFolgerShakespeareLibrary. 32 9. “Mr.GarrickinFourofHisPrincipalTragicCharacters,” anonymousengraving(1750–70),copyoriginallyownedby CharlesBurney.©TrusteesoftheBritishMuseum. 53 10A. W.Kohler,“CharlesKeanintheCharacterofHamlet,” mezzotint(1838).BypermissionoftheFolgerShakespeare Library. 64
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