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Full Description
Shakespeare's texts have a long and close relationship with many different types of dance, from dance forms referenced in the plays to adaptations across many genres today. With contributions from experienced and emerging scholars, this handbook provides a concise reference on dance as both an integral feature of sixteenth- and seventeenth-century culture and as a means of translating Shakespearean text into movement - a process that raises questions of authorship and authority, cross-cultural communication, semantics, embodiment, and the relationship between word and image.
Motivated by growing interest in movement, materiality, and the body, The Oxford Handbook of Shakespeare and Dance is the first collection to examine the relationship between William Shakespeare - his life, works, and afterlife - and dance. In the handbook's first section - Shakespeare and Dance - authors consider dance within the context of early modern life and culture and investigate Shakespeare's use of dance forms within his writing. The latter half of the handbook - Shakespeare as Dance - explores the ways that choreographers have adapted Shakespeare's work. Chapters address everything from narrative ballet adaptations to dance in musicals, physical theater adaptations, and interpretations using non-Western dance forms such as Cambodian traditional dance or igal, an indigenous dance form from the southern Philippines.
With a truly interdisciplinary approach, The Oxford Handbook of Shakespeare and Dance provides an indispensable resource for considerations of dance and corporeality on Shakespeare's stage and the early modern era.
Contents
Foreword
ALAN BRISSENDEN
Acknowledgements
List of Contributors
Introduction
LYNSEY MCCULLOCH AND BRANDON SHAW
SECTION I: SHAKESPEARE AND DANCE
Section Introduction
JENNIFER NEVILE
1. "The heaven's true figure" or an "introit to all kind of lewdness"? Competing Conceptions of Dancing in Shakespeare's England
EMILY WINEROCK
2. Decoding Dance in Shakespeare's Much Ado About Nothing and Twelfth Night
NONA MONAHIN
3. "When the play is done, you shall have a Jig or dance of all treads": Danced Endings on Shakespeare's Stage
ROGER CLEGG
4. "The revellers are entering": Shakespeare and Masquing Practice in Tudor and Stuart England
ANNE DAYE
5. We Are All Made: The Socioeconomics of The Two Noble Kinsmen's Anti-Masque Morris Dance
JOHN R. ZIEGLER
6. The Merchant of Venice's Missing Masque: Absence, Touch, and Religious Residues
LIZZIE LEOPOLD
7. Shakespeare's Dancing Bodies: The Case of Romeo
BRANDON SHAW
8. Dancing with Perdita: The Choreography of Lost Time in The Winter's Tale
STEVEN SWARBRICK
9. "The wisdom of your feet": Dance and Rhetoric on the Shakespearean Stage
FLORENCE HAZRAT
10. [They Dance]: Collaborative Authorship and Dance in Macbeth
SETH STEWART WILLIAMS
11. Dancing with the Archive: Early Dance for Shakespearean Adaptation
EVELYN O'MALLEY
SECTION II: SHAKESPEARE AS DANCE
Section Introduction
MARGARET JANE KIDNIE
12. Shakespeare, Modernism, and Dance
SUSAN JONES
13. Dance in the Broadway Musicals of Shakespeare: Balanchine, Holms, and Robbins
RAY MILLER
14. "Thou art translated: Affinity, Emulation, and Translation in George Balanchine's A Midsummer Night's Dream
AMY RODGERS
15. "hildings and harlots": Kenneth MacMillan's Romeo and Juliet
LYNSEY MCCULLOCH
16. Shakespeare Ballets in Germany: From Jean-Georges Noverre to John Neumeier
IRIS JULIA BÜHRLE
17. "Therefore ha' done with words": Shakespeare and Innovative British Ballets
ELINOR PARSONS
18. Measure in Everything: Adapting Hamlet to the Contemporary Dance Stage
ELIZABETH KLETT
19. Hamlet, the Ballet: Examining a Choreographic Process
JO BUTTERWORTH
20. Haunted by Hamlet: William Forsythe's Sider
FREYA VASS-RHEE
21. Dancing her Death: Dada Masilo's The Bitter End of Rosemary (2011) as a South African Contemporary Rethinking of Hamlet's Ophelia
KATHRINA FARRUGIA-KRIEL
22. Embodiment, Reciprocity, and Reception: Shakespeare Adaptations in a Black Atlantic Context
ANN E. MAZZOCCA AND DENISE GILLMAN
23. Shakespeare and L.O.V.E: Dance and Desire in the Sonnets
JAMES HEWISON
24. Incorporating the Text: John Farmanesh-Bocca's Pericles Redux and Crystal Pite's The Tempest Replica
LINDA MCJANNET
25."A delightful measure or a dance": Synetic Theater and Physical Shakespeare
SHEILA T. CAVANAGH
Appendix 1
Appendix 2
Index
