Kirjahaku

Enter the Body offers a series of provocative case studies of the work women's bodies do on Shakespeare's intensely body-conscious stage. Rutter's topics are sex, death, race, gender, culture, politics, and the excessive performative body that exceeds the playtext it inhabits. As well as drawing upon vital primary documents from Shakespeare's day, Rutter offers close readings of women's performance's on stage and film in Britian today, from Peggy Ashcroft's (white) Cleopatra and Whoopi Goldberg's (whiteface) African Queen to Sally Dexter's languorous Helen and Alan Howard's raver 'Queen' of Troy.

Enter the Body offers a series of provocative case studies of the work women's bodies do on Shakespeare's intensely body-conscious stage. Rutter's topics are sex, death, race, gender, culture, politics, and the excessive performative body that exceeds the playtext it inhabits. As well as drawing upon vital primary documents from Shakespeare's day, Rutter offers close readings of women's performance's on stage and film in Britian today, from Peggy Ashcroft's (white) Cleopatra and Whoopi Goldberg's (whiteface) African Queen to Sally Dexter's languorous Helen and Alan Howard's raver 'Queen' of Troy.

Shakespeare wrote more than fifty parts for children, amounting to the first comprehensive portrait of childhood in the English theatre. Focusing mostly on boys, he put sons against fathers, servants against masters, innocence against experience, testing the notion of masculinity, manners, morals, and the limits of patriarchal power. He explored the nature of relationships and ideas about parenting in terms of nature and nurture, permissiveness and discipline, innocence and evil. He wrote about education, adolescent rebellion, delinquency, fostering, and child-killing, as well as the idea of the redemptive child who ‘cures’ diseased adult imaginations. ‘Childness’ – the essential nature of being a child – remains a vital critical issue for us today. In Shakespeare and Child’s-Play Carol Rutter shows how recent performances on stage and film have used the range of Shakespeare’s insights in order to re-examine and re-think these issues in terms of today’s society and culture.

Shakespeare wrote more than fifty parts for children, amounting to the first comprehensive portrait of childhood in the English theatre. Focusing mostly on boys, he put sons against fathers, servants against masters, innocence against experience, testing the notion of masculinity, manners, morals, and the limits of patriarchal power. He explored the nature of relationships and ideas about parenting in terms of nature and nurture, permissiveness and discipline, innocence and evil. He wrote about education, adolescent rebellion, delinquency, fostering, and child-killing, as well as the idea of the redemptive child who ‘cures’ diseased adult imaginations. ‘Childness’ – the essential nature of being a child – remains a vital critical issue for us today. In Shakespeare and Child’s-Play Carol Rutter shows how recent performances on stage and film have used the range of Shakespeare’s insights in order to re-examine and re-think these issues in terms of today’s society and culture.

Since its formation in 1997, Propeller has developed both popular and critical appeal, establishing itself as one of the most prominent Shakespeare companies in the United Kingdom. Combining modern cultural references, music, eclectic design, and a unique use of an onstage choric presence, Propeller is able to connect modern audiences to Shakespeare's plays by creating energetic, physical productions that are firmly grounded in the texts. This book explores the ways in which Propeller's evolution is integrated with its productions in performance and provides a record of this unique contributor to contemporary Shakespearean performance.

This book writes a performance history of Antony and Cleopatra, Shakespeare’s most ambiguous play, from 1606 to the present. It observes the choices that actors, directors, designers, musicians and adapters have made each time they have brought the play’s thoughts on power, race, masculinity, regime change, exoticism, love, dotage and delinquency into alignment with a new present. Informed by close attention to theatre records – promptbooks, stage managers’ reports, reviews – it offers in-depth analyses of fifteen international productions by (among others) the Royal Shakespeare Company, Citizens Theatre Glasgow, Northern Broadsides, Berliner Ensemble and Toneelgroep Amsterdam. It ends seeing Shakespeare’s black Egyptian Queen Cleopatra – whited-out in performance for centuries – restored to the contemporary stage. Written in a lively and accessible style, this book will be of interest to students, academics, actors, directors and general readers alike.

Student, traveller, secretary, scoundrel, spy: introducing the maverick whose diplomacy saved Europe from war.Henry Wotton had already exhausted several lives when he arrived in Venice as England's ambassador in 1604. Yet the most remarkable phase of his career was yet to come.In Lying abroad, Carol Chillington Rutter tells Wotton’s extraordinary story. She reveals how this one-time exile, who fled England after his employer was convicted of treason, gained the favour of King James, securing a knighthood and a diplomatic posting. Charged with restoring relations with Venice after a fifty-year hiatus, he drew criticism for his breaches of protocol. But when a dispute brought Europe to the brink of war, Wotton took a risk – one that changed European history.This engrossing biography recounts a life that was tumultuous, tarnished and endlessly theatrical. The man King James called his ‘honest dissembler’ was a maverick who fashioned diplomacy in ways that still inform international relations today.