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Shakespeare Ceremony and the Public Sphere of Performance

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Shakespeare Ceremony and the Public Sphere of Performance. / Findlay, Alison Gail.

In: Shakespeare, Vol. 14, No. 1, 01.05.2018, p. 26-37.

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Findlay, Alison Gail. / Shakespeare Ceremony and the Public Sphere of Performance. In: Shakespeare. 2018 ; Vol. 14, No. 1. pp. 26-37.

Bibtex

@article{6e712690fc5f40f5a97c808bf2c9fc71,
title = "Shakespeare Ceremony and the Public Sphere of Performance",
abstract = "The Globe{\textquoteright}s experiments with audience involvement have introduced novel methods of rendering spectators aware of their presence within any performance. Most of this is catered for and rehearsed, but – performance by performance – there is the opportunity for spontaneous gestures and responses. This essay focuses on this self-awareness in the Globe{\textquoteright}s 2010 productions of Merry Wives of Windsor, The Taming of the Shrew and All is True (Henry VIII), where the ceremony of distance between on- and offstage and between spectating and participating is questioned. As a result of this, some of Habermas{\textquoteright} assumptions as to what a cultural “Public Sphere” might be are extended to include the theatrical potential both as a result of external factors such as expected conventions before the performance and internal nuances that bring surprise and challenge such traditions.",
keywords = "Shakespeare{\textquoteright}s Globe, Merry Wives of Windsor, Henry VIII, Habermas, Public Sphere",
author = "Findlay, {Alison Gail}",
year = "2018",
month = may,
day = "1",
doi = "10.1080/17450918.2018.1439089",
language = "English",
volume = "14",
pages = "26--37",
journal = "Shakespeare",
issn = "1745-0918",
publisher = "Taylor and Francis Ltd.",
number = "1",

}

RIS

TY - JOUR

T1 - Shakespeare Ceremony and the Public Sphere of Performance

AU - Findlay, Alison Gail

PY - 2018/5/1

Y1 - 2018/5/1

N2 - The Globe’s experiments with audience involvement have introduced novel methods of rendering spectators aware of their presence within any performance. Most of this is catered for and rehearsed, but – performance by performance – there is the opportunity for spontaneous gestures and responses. This essay focuses on this self-awareness in the Globe’s 2010 productions of Merry Wives of Windsor, The Taming of the Shrew and All is True (Henry VIII), where the ceremony of distance between on- and offstage and between spectating and participating is questioned. As a result of this, some of Habermas’ assumptions as to what a cultural “Public Sphere” might be are extended to include the theatrical potential both as a result of external factors such as expected conventions before the performance and internal nuances that bring surprise and challenge such traditions.

AB - The Globe’s experiments with audience involvement have introduced novel methods of rendering spectators aware of their presence within any performance. Most of this is catered for and rehearsed, but – performance by performance – there is the opportunity for spontaneous gestures and responses. This essay focuses on this self-awareness in the Globe’s 2010 productions of Merry Wives of Windsor, The Taming of the Shrew and All is True (Henry VIII), where the ceremony of distance between on- and offstage and between spectating and participating is questioned. As a result of this, some of Habermas’ assumptions as to what a cultural “Public Sphere” might be are extended to include the theatrical potential both as a result of external factors such as expected conventions before the performance and internal nuances that bring surprise and challenge such traditions.

KW - Shakespeare’s Globe

KW - Merry Wives of Windsor

KW - Henry VIII

KW - Habermas

KW - Public Sphere

U2 - 10.1080/17450918.2018.1439089

DO - 10.1080/17450918.2018.1439089

M3 - Journal article

VL - 14

SP - 26

EP - 37

JO - Shakespeare

JF - Shakespeare

SN - 1745-0918

IS - 1

ER -