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001450510 001__ 1450510
001450510 003__ OCoLC
001450510 005__ 20230310004529.0
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001450510 019__ $$a1348482522$$a1349278333
001450510 020__ $$a9783031057632$$q(electronic bk.)
001450510 020__ $$a3031057635$$q(electronic bk.)
001450510 020__ $$z9783031057625
001450510 020__ $$z3031057627
001450510 0247_ $$a10.1007/978-3-031-05763-2$$2doi
001450510 035__ $$aSP(OCoLC)1348377579
001450510 040__ $$aYDX$$beng$$erda$$epn$$cYDX$$dGW5XE$$dEBLCP$$dUKMGB$$dN$T$$dUKAHL
001450510 049__ $$aISEA
001450510 050_4 $$aPR3091
001450510 08204 $$a822.3/3$$223/eng/20221031
001450510 1001_ $$aSullivan, Erin$$c(Cultural historian),$$eauthor.
001450510 24510 $$aShakespeare and digital performance in practice /$$cErin Sullivan.
001450510 264_1 $$aCham :$$bPalgrave Macmillan,$$c[2022]
001450510 264_4 $$c©2022
001450510 300__ $$a1 online resource (xv, 249 pages) :$$billustrations (chiefly color).
001450510 336__ $$atext$$btxt$$2rdacontent
001450510 337__ $$acomputer$$bc$$2rdamedia
001450510 338__ $$aonline resource$$bcr$$2rdacarrier
001450510 4901_ $$aShakespeare in practice
001450510 500__ $$aIncludes index.
001450510 5050_ $$a1. Introduction -- 2. Being There -- 3. The Broadcast Stage -- 4. Mediated Performance -- 5. Born-Digital Theatre -- 6. Conclusion -- 7. In Practice - Interviews with Two Practitioners.
001450510 506__ $$aAccess limited to authorized users.
001450510 520__ $$aShakespeare and Digital Performance in Practice explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry. Through close analysis of dozens of productions, both high-profile and lesser known, it examines the rise of live broadcasting and recording in the theatre, the growing use of live video feeds and dynamic projections on the mainstream stage, and experiments in born-digital theatre-making, including social media, virtual reality, and video-conferencing adaptations. In doing so, it argues that technologically adventurous performances of Shakespeare allow performers and audiences to test what they believe theatre to be, as well as to reflect on what it means to be presentwith a work of art, with others, with oneselfin an increasingly online world. Erin Sullivan is Reader in Shakespeare at the Shakespeare Institute, University of Birmingham, UK. She is co-editor of Lockdown Shakespeare: New Evolutions in Performance and Adaptation (2022) and author of Beyond Melancholy: Sadness and Selfhood in Renaissance England (2016). Her research focuses on the emotional force of Shakespeares works, both in his own time and today. .
001450510 588__ $$aOnline resource; title from PDF title page (SpringerLink, viewed October 31, 2022).
001450510 60010 $$aShakespeare, William,$$d1564-1616$$xDramatic production$$xTechnological innovations.
001450510 650_0 $$aTheater$$xProduction and direction$$xTechnological innovations.
001450510 655_0 $$aElectronic books.
001450510 77608 $$iPrint version:$$aSullivan, Erin.$$tShakespeare and digital performance in practice.$$dBasingstoke : Palgrave Macmillan, 2022$$z9783031057625$$w(OCoLC)1338671950
001450510 830_0 $$aShakespeare in practice.
001450510 852__ $$bebk
001450510 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-031-05763-2$$zOnline Access$$91397441.1
001450510 909CO $$ooai:library.usi.edu:1450510$$pGLOBAL_SET
001450510 980__ $$aBIB
001450510 980__ $$aEBOOK
001450510 982__ $$aEbook
001450510 983__ $$aOnline
001450510 994__ $$a92$$bISE