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Theatre research international, 2013-07, Vol.38 (2), p.164
Ort / Verlag
Oxford: Cambridge University Press
Erscheinungsjahr
2013
Link zum Volltext
Quelle
Alma/SFX Local Collection
Beschreibungen/Notizen
According to these works, the interest in Shakespeare is rooted less in his canonical position than in the fact that his works fuel a permanent process of rereading. Here, the scholarly discourse mirrors a phenomenon well known from stage history: as the works of Reinhardt, Brook, Ninagawa and many others show, going back to Shakespeare often invites one to reformulate one's own aesthetic, or in our case scholarly, position. [...]it is consistent that the three books under review do not merely offer new insights into Shakespearean performance but take an explicit methodological position - each of it with a special focus: Purcell unfolds his argument on two complementary levels: on one level, he inserts short 'Personal Narratives' about his own experiences as a spectator and director, on a second level he tries to analyse Shakespeare's popularity with respect to several aspects that usually collide on our notion of 'popularity': the commercial theatre versus art, textual dimensions, questions of community building and so on.