Talking Shakespeare: Shakespeare into the Millennium PDF
Preview Talking Shakespeare: Shakespeare into the Millennium
TALKING SHAKESPEARE RELATED TITLES FROM PALGRAVE Slwkspeare and the Loss of Eden Catherine Belsey Slwkspeare 1609: Cymbeline and the Sonnets Richard Danson Brown and David Johnson A Slwkspeare Reader: Sources and Criticism edited by Richard Danson Brown and David Johnson Slwkspeare: The Tragedies John Russell Brown Interpreting Slwkspeare on Screen Deborah Cartmell Slwkspeare Feminism and Gender (New Casebook series) edited by Kate Chedgzoy Slwkspeare: The Comedies (Analysing Texts series) R. P. Draper An Introduction to Slwkspeare Peter Hyland Slwkspeare: The Tragedies (Analysing Texts series) Nicholas Marsh Slwkspeare: Texts and Contexts edited by Kiernan Ryan Slwkspeare: The Histories Graham Holderness Slwkspeare on Film (New Casebook series) edited by Robert Shaughnessy Slwkspeare in Performance (New Casebook series) edited by Robert Shaughnessy Talking Shakespeare Shakespeare into the Millennium Edited by DEBORAH CARTMELL and MICHAEL SCOTT pal grave * Selection, introduction and editorial matter © Deborah Cartmell and Michael Scott 2001; chapter 1 ©Michael Scott 2001; chapter 2 ©Nigel Wood 2001; chapter 3 ©Peter Davison 2001; chapter 4 ©Emma Smith 2001; chapter 5 ©Dermot Cavanagh 2001; chapter 6 ©Colin Chambers 2001; chapter 7 ©Janice Wardle 2001; chapter 8 ©Miles Thompson and Imelda Whelehan 2001; chapter 9 ©Deborah Cartmell 2001; chapter 10 ©Bernice W. Kliman 2001; chapter 11 ©Gabriel Egan 2001; chapter 12 ©Kiernan Ryan 2001; chapter 13 Michael]. Collins© 2001; Appendix© Josephine Webb 2001 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P OLP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2001 by PALGRAVE Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE is the new global academic imprint of St. Martin's Press LLC Scholarly and Reference Division and Palgrave Publishers Ltd (formerly Macmillan Press Ltd). ISBN 978-0-333-77773-2 ISBN 978-0-333-98574-8 (eBook) DOI 10.1007/978-0-333-98574-8 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Talking Shakespeare: Shakespeare into the millennium I edited by Deborah Cartmell and Michael Scott. p.cm. Includes bibliographical references and index. 1. Shakespeare, William, 1564-1616---Criticism and interpretation. I. Cartmell, Deborah. II. Scott, Michael, 1949. PR2976 .T25 2001 822.3'3-dc21 00-053053 10 9 8 7 6 5 4 3 2 1 10 09 08 07 06 05 04 03 02 01 To Peter and Sheila Davison Contents Acknowledgements IX Introduction 1 DEBORAH CARTMELL AND MICHAEL SCOTT I Shakespeare, Theory and Contexts 7 1 Talking Shakespeare 9 MICHAEL Scorr 2 How Does Hamlet End? 24 NICEL WOOD 3 Shakespeare and the Elizabethan Stage: Touring Practice in Shakespeare's Day 39 PETER DAVISON 4 Studying Shakespeare and His Contemporaries 55 EMMA SMITH 5 Shakespeare and History 70 DERMOT CAVANACH II Shakespeare and National Identity 83 6 'Home, Sweet Home': Stratford-upon-Avon and the Making of the Royal Shakespeare Company as a National Institution 85 COLIN CHAMBERS III Shakespeare, Performance, Sexuality and Race 103 7 Twelfth Night: 'One fuce, one voice, one habit, and two persons!' 105 jANICE WARDLE vii V1ll Contents 8 Shakespeare and the Homoerotic 123 MILES THOMPSON AND IMELDA WHELEHAN 9 Shakespeare and Race: Othello l.iii 138 DEBORAH CARTMELL IV Shakespeare, Film and the Fu.ture 149 10 The Unkindest Cuts: Flashcut Excess in Kenneth Branagh's Hamlet 151 BERNICE W. KLIMAN 11 Showing Versus Telling: Shakespeare's Ekphraseis, Visual Absences, and the Cinema 168 GABRIEL EGAN 12 Shakespeare and the Future 187 KIERNAN RYAN 13 Why We Talk Shakespeare 201 J. MICHAEL COLLINS Appendix: Bibliography of Shakespeare and Electronic Sources 213 JOSEPHINE WEBB Notes and References 221 Notes on Cont:ributors 246 Index 248 Acknowledgements Thanks are due to De Montfort University for supporting the project and to Palgrave for patience and understanding. We wish to thank our families for their support throughout. ix Introduction DEBORAH CARTMELL AND MICHAEL SCOTT Talking Shakespeare, as its tide implies, focuses on the reciprocal relationship between past and present, the way Shakespeare talks to us, the ways in which we talk about Shakespeare, and the way in which Shakespeare, ultimately, is 'all talk'. Indeed, the appro ach employed throughout the book is a consideration of the ways in which the past informs the present, as well as how the present informs the past. Shakespeare has become, among other things, a great screen writer, one who can be 'updated' and made relevant to today's youth (witness Baz Luhrmann's WiUiam Shakespeare's Romeo + Juliet, 1996, or Gil Junger's Ten Things I Hate About lbu, 1999). In the latter film, a rewriting of The Taming of the Shrew in the genre of teen-pic, the black English teacher who scorns feminist and white male writing as elitist makes an exception when it comes to Shakespeare: his texts are regarded as truly universal. Indeed, contact with Shakespeare transforms the lives of the teenagers in the film, or to quote from Henry V, their brush with Shakespeare has 'gende[d]' their 'condition'. This Arnoldian assumption that, no matter how diluted, Shakespeare is good for us, is interrogated throughout the book through an exploration of dominant issues and approaches in Shakespeare studies, ranging from Shakespeare and his con temporaries to Shakespeare and our contemporaries. The chap ters in this volume approach the plays from a variety of perspectives: editing and theory (Nigel Wood), theatrical prac tices (Peter Davison), Shakespeare and his contemporaries (Emma Smith), Shakespeare and history (Dermot Cavanagh), Shakespeare and nationalism (Colin Chambers), twentieth century performances (Janice Wardle), Shakespeare and the homoerotic (Miles Thompson and Imelda Whelehan), Shake speare and race (Deborah Cartmell), Shakespeare and film (Bernice Kliman and Gabriel Egan, respectively) and Shake speare and the future (Kiernan Ryan). The book is framed by a 1
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