By Professor Robert Shaughnessy
This significant other explores the amazing number of kinds that Shakespeare's lifestyles and works have taken over the process 4 centuries, starting from the early glossy theatrical industry to the age of mass media, and together with level and monitor functionality, song and the visible arts, the tv serial and renowned prose fiction. The ebook asks what occurs whilst Shakespeare is popularized, and while the preferred is Shakespeareanized; it queries the criteria that ensure the definitions of and limits among the valid and illegitimate, the canonical and the approved and the subversive, the oppositional, the scandalous and the inane. best students speak about the ways that the performs and poems of Shakespeare, in addition to Shakespeare himself, were interpreted and reinvented, tailored and parodied, transposed into different media, and act as a resource of suggestion for writers, performers, artists and film-makers around the globe.
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Additional resources for The Cambridge Companion to Shakespeare and Popular Culture (Cambridge Companions to Literature)
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P. 91. I am indebted to musicologist Ellen Harris on this point. On the local in popular theatre, see David Meyer, ‘‘Towards a Definition of Popular Theatre,’’ in Western Popular Theatre, ed. David Meyer and Kenneth Richards (London: Methuen, 1977), pp. 257–77, and Schechter, Popular Theatre; on Ludgate iconography, see Stern, Making Shakespeare, p. 11. Meyer, ‘‘Towards a Definition of Popular Theatre,’’ p. 263. On the association of popular theatre (itself an eighteenth-century French phrase) with twentieth-century ‘‘democratic, proletarian, and politically progressive theatre,’’ see Schechter, Popular Theatre, p.
But of all his plays and characters, the most popular, from 1600 right through the next century, was Sir John Falstaff: Hal might banish him and Shakespeare kill him off, but plump Jack – like many another crowd-pleasing clown – refused to stay down. In performance, in allusions, and even (when the theatres were effectively closed at mid-century) in short ‘‘drolls,’’ that madcap rogue, that ‘‘Vice, that grey Iniquity,’’ that compendium of so many dimensions of popular culture rolled up into one ‘‘huge hill of flesh,’’ continued to please.
43–67, p. 59. 9. Carolyn Sale, ‘‘Slanderous Aesthetics and the Woman Writer: the Case of Hole v. White,’’ in Holland and Orgel, From Script to Stage, pp. 181–94. 10. Robert Weimann, Shakespeare and the Popular Tradition in the Theater, ed. Robert Schwartz (Baltimore: Johns Hopkins University Press, 1978), p. 5. 11. Enid Welsford, The Fool: His Social and Literary History (London: Faber and Faber, 1935). 12. , p. 11. 13. Stern, Making Shakespeare, p. 64. 14. S. L. Bethell, Shakespeare and the Popular Dramatic Tradition (London: King and Staples, 1944); C.