By James C. Bulman
This number of seminal essays explores the impression of severe conception on theatre background and the results of functionality stories on textual Shakespearean feedback. It contains essays via William Worthen, Anthony Dawson, Cary Mazer, Barbara Hodgdon, Michael Friedman, Judith Dunbar, Douglas Lanier, Martin Brunkhorst, Juliet Dusinberre, Robert Weimann,and Dennis Kennedy.
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Oxford: Clarendon, 1988. Jackson, Russelland Robert Smallwood,eds. Players of Shakespeare 2: Further essays in Shakespearean performance by players with the Royal Shakespeare Company. Cambridge and New York: Cambridge University Press, 1988. Skura, Meredith Anne. Shakespeare the Actor and the Purposes of Playing. Chicago and London: University of Chicago Press, 1993. Stallybrass, Peter and Allon White. The Politics and Poetics of Transgression. Ithaca, NY: Cornell University Press, 1986. L. The Shakespeare Revolution: Criticism and Performance in the Twentieth Century.
The space between the two kinds of reading is both contested and negotiated; forced upon us is an awareness of a feeling, personating body that contends against the discursive one, not thereby knocking the latter out of commission but perhaps allowing for a ritual of participation. 8 The boy actor figures in this because of the relationship he bears to the part he plays. There is an implicit conflict between the person he is and the woman he impersonates, which at key moments exerts enormous pressure on the order of representation itself.
What I am arguing, however, is that by setting the scene metatheatrically as it does (with Doctor and Gentlewoman watching and commenting), by allowing the boy actor full scope and demanding, implicitly, audience belief—by, that is, offering us and then withdrawing the deconstructive pleasures to be derived from the special knowing or ironic consciousness that such staging potentiates—the text puts the ideological reading into play and at the same time engages it with a theatrical one. The space between the two kinds of reading is both contested and negotiated; forced upon us is an awareness of a feeling, personating body that contends against the discursive one, not thereby knocking the latter out of commission but perhaps allowing for a ritual of participation.