Staging and receiving Shakespeare
Subtitle: four late twentieth-century productions of "Coriolanus".
Published: 2005
Language: eng
Number of pages: 289
Description: The first two productions I discuss, those of the Royal Shakespeare Company in 1972 and the National Theatre in 1984, were the work of theatre practitioners who developed the "Shakespeare-plus-relevance" model of Shakespearean theatre. That is, they claimed to serve Shakespeare's creation of coherent individual psychologies, while demonstrating the playwright's universal relevance.This thesis examines four English and North American productions of William Shakespeare's Coriolanus staged between 1972 and 1994. I begin by developing a model of performance and audience response by offering an historicized reading of the play, taking into consideration the function of the performing body and the unevenness of the productive role audiences play in theatrical events.The second pair I discuss departed from this conception of performance. The New York Shakespeare Festival's 1988--89 Coriolanus challenged this model with director Steven Berkoff's collectivist, body-centred performance style. Robert Lepage's 1992--1994 Coriolan displayed a complex relation to traditional conceptions of theatre, combining a belief in Shakespeare's intentions with an insistence upon the imperatives of Quebecois culture.My analysis suggests that the prevailing understanding of Shakespearean performance in the late twentieth century has been formed unevenly between theatrical producers and communities of reviewers and that the archival evidence for such productions should be understood as providing access to diverse and contradictory aspects of this ideology, rather than simply providing access to the producers' intended meanings or a singular image of what happened onstage.I apply this model of performance to modern Shakespearean theatrical production, in which actors, directors, and critics typically conceive of performance as subordinate to the playwright's intentions. Shakespearean scholars have traditionally shared this belief in the subordination of performance to the dramatic script, and have treated the often contradictory evidence in theatre archives as material that must be worked into a united picture of what theatre artists intended a given production to mean. I depart from this approach by focusing on the contradictions embodied in the archival evidence that I examine.
Notes: Thesis (Ph.D.)--University of Toronto, 2005.

Electronic version licensed for access by U. of T. users.

Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2028.