Shakespeare Seen: Image, Performance and Society PDF
Preview Shakespeare Seen: Image, Performance and Society
ShakespeareSeen Thiswide-rangingstudytracestheforcesthatdrovetheproductionandinterpretationof visual images of Shakespeare’s plays. Covering a rich chronological terrain, from the beginning of the eighteenth century to the midpoint of the nineteenth, Stuart Sillars offers a multidisciplinary, nuanced approach to reading Shakespeare in relation to image, history, text, book history, print culture and performance. The volume begins byrelatingtheproductionimageryofShakespeare’splaystoothervisualformsandtheir socialframes,beforediscussingthedesignandoperationofillustratededitionsandthe ‘performance readings’ they offer, and analysing the practical and theoretical founda- tionsofeaselpaintings.ClosereadingsofTheComedyofErrors,KingLear,theRomanplays, TheMerchant ofVeniceandOthelloprovidedetailedinsightintohowtheplayshavebeen represented visually, and are accompanied by numerous illustrations and a beautiful colourplatesection. Stuart Sillars is Emeritus Professor of English Literature at the University of Bergen, Norway,andtheauthorofseveralbooksandmanyarticlesontherelationsbetweenword andimage,includingfourpreviousvolumesonShakespeareandvisualartpublishedby CambridgeUniversityPress.HenowlivesinEly,Cambridgeshire,andBergen,Norway. Frontispiece: Unidentified artist: untitled illustration showing Coriolanus with Volumnia andValeria,TheLeopoldShakespeare,1880.Thedepictionofthesceneisthefirstimage fullytoreflectthescene’simportance,asmostlikelyperformedinShakespeare’stimeand inproductionfromthemid-eighteenthcentury.Seepages161–2. SHAKESPEARE SEEN IMAGE, PERFORMANCE AND SOCIETY STUART SILLARS UniversityofBergen,Emeritus UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom OneLibertyPlaza,20thFloor,NewYork,NY10006,USA 477WilliamstownRoad,PortMelbourne,VIC3207,Australia 314–321,3rdFloor,Plot3,SplendorForum,JasolaDistrictCentre,NewDelhi–110025,India 79AnsonRoad,#06–04/06,Singapore079906 CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learning,andresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9781107193246 DOI:10.1017/9781108147705 ©CambridgeUniversityPress2019 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2019 PrintedintheUnitedKingdombyTJInternationalLtd,PadstowCornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary. ISBN978-1-107-19324-6Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyof URLsforexternalorthird-partyinternetwebsitesreferredtointhispublication anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. For my friends pictured without CONTENTS Listofcolourplates pageix Listofillustrations xii Acknowledgments xviii 1 Framesandcircumstances 1 PartOne:StructuresandconceptsinShakespeareimaging 19 2 Mechanismandmeaninginillustratededitions 21 3 Performancereadinginpractice 48 4 Shakespearepaintingandaestheticidentity 67 PartTwo:Image,stageandbeyond;instancesandmovement 87 5 ThevisualidentitiesofTheComedyofErrors 89 6 Text,imageandtemperinKingLear 117 7 Rhythmsofactionandfeeling:theRomanplays 137 8 RankandraceinOthello 171 9 TheMerchantofVeniceandEnglishvisualculture 197 vii contents 10 Shakespearepainting1800–1848 217 11 Conclusionsanddepartures 234 Notes 239 Selectbibliography 258 Index 264 Theplatesectioncanbefoundbetweenpp148and149 viii
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