By W. B. Worthen
Shakespeare and the strength of recent functionality asks a principal theoretical query within the examine of drama: what's the dating among the dramatic textual content and the meanings of functionality? W.B. Worthen argues that the textual content can't govern the strength of its functionality. as an alternative, the textual content turns into major in simple terms as embodied within the altering conventions of its functionality. Worthen explores this knowing of dramatic performativity by way of interrogating a number of modern websites of Shakespeare construction. The e-book comprises designated discussions of contemporary movies and level productions, and units Shakespeare functionality along different works of latest drama and theatre.
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Sample text
10 Print also came to govern the rhetoric of theatrical performance, the sense that performance derives from the order of print. The iterative nature of print changed the understanding of theatre and its relationship to dramatic writing, giving rise to a sense of theatre as a form of printlike reiteration, and so to a distinctive sense of theatrical (in)fidelity, the notion that theatrical performance is a replaying of an artistic identity held elsewhere, within the printed text of the play. And yet, while print has changed the landscape of performance for ever, installing plays as fixed printed objects to be reiterated in another medium (performance), the first impact of print in the theatre was on a culture that used writing in a specific process of oral transmission, and printed drama remains embedded in a range of oral practices today.
As a result, throughout the book, I discuss performances in some detail: an “experimental” university production of Romeo and Juliet that attempted to theatricalize unspoken features of the q 2 text of that play; the disarming performance of the “mutes or audience” of Hamlet at the Globe Theatre in 2000; Baz Luhrmann’s William Shakespeare’s Romeo + Juliet, and the Grupo Galp˜ao Romeu e Julieta, staged as part of the “Globe to Globe” series; several contemporary films; and the performance of reading hypertext online.
And yet, while print has changed the landscape of performance for ever, installing plays as fixed printed objects to be reiterated in another medium (performance), the first impact of print in the theatre was on a culture that used writing in a specific process of oral transmission, and printed drama remains embedded in a range of oral practices today. “Scribal culture” (Eisenstein’s term) was heavily reliant on “oral transmission” in ways that make a simple opposition between oral and literate cultures suspect.