http://hdl.handle.net/11089/9455 2026-04-05T20:24:10Z 2026-04-05T20:24:10Z Walkling, Saffron http://hdl.handle.net/11089/11887 2019-03-27T08:03:00Z 2014-01-01T00:00:00Z

Theatre Reviews: Coriolanus, Edinburgh International Festival. Dir. Lin Zhaohua, 20-21 August 2013 Walkling, Saffron

2014-01-01T00:00:00Z Dunne, Derek http://hdl.handle.net/11089/9481 2019-03-27T08:04:20Z 2014-12-30T00:00:00Z

Book Reviews: A Year of Shakespeare: Re-living the World Shakespeare Festival, ed. Paul Edmondson, Paul Prescott and Erin Sullivan, 2013. Pp. 320; Shakespeare Beyond English: A Global Experiment, ed. Susan Bennett and Christie Carson, 2013. Pp. 341. Dunne, Derek

2014-12-30T00:00:00Z Buckley, Thea http://hdl.handle.net/11089/9480 2019-03-27T08:06:51Z 2014-12-30T00:00:00Z

Theatre Reviews: The Taming of the Shrew, Globe to Globe. Dir. Haissam Hussain, 26-27 May 2012. Buckley, Thea

2014-12-30T00:00:00Z Mancewicz, Aneta http://hdl.handle.net/11089/9479 2019-03-27T08:05:26Z 2014-12-30T00:00:00Z

Looking Back at the Audience: The RSC & The Wooster Group’s Troilus and Cressida (2012) Mancewicz, Aneta The controversy around the RSC & The Wooster Group’s Troilus and Cressida (Stratford-upon-Avon 2012) among the spectators and critics in Britain revealed significant differences between the UK and the US patterns of staging, spectating, and reviewing Shakespeare. The production has also exposed the gap between mainstream and avant-garde performance practices in terms of artists’ assumptions and audiences’ expectations. Reviews and blog entries written by scholars, critics, practitioners, and anonymous theatre goers were particularly disapproving of The Wooster Group’s experimentation with language, non-psychological acting, the appropriation of Native American customs, and the overall approach to the play and the very process of stage production. These points of criticism have suggested a clear perception of a successful Shakespeare production in the mainstream British theatre: a staging that approaches the text as an autonomous universe guided by realistic rules, psychological principles, and immediate political concerns. If we assume, however, that Troilus and Cressida as a play relies on the dramaturgy of cultural differences and that it consciously reflects on the notion of spectatorship, the production’s transgression of mainstream patterns of staging and spectating brings it surprisingly close to the Shakespearean source.

2014-12-30T00:00:00Z