Shakespeare and the Royal Actor
Performing Monarchy, 1760-1952
Seiten
2024
Oxford University Press (Verlag)
978-0-19-889497-1 (ISBN)
Oxford University Press (Verlag)
978-0-19-889497-1 (ISBN)
Explores the extent to which members of the royal family have appropriated the creative legacy of Shakespeare, from the mid-eighteenth century to the mid-twentieth century, in order to shore up royal and national ideologies and to assert the legitimacy of the monarchy.
Shakespeare and the Royal Actor argues that members of the royal family have identified with Shakespearean figures at various times in modern history to assert the continuity, legitimacy, and national identity of the royal line. It provides an account of the relationship between the Shakespearean afterlife and the royal family through the lens of a broadly conceived theatre history suggesting that these two hegemonic institutions had a mutually sustaining relationship from the accession of George III in 1760 to that of Elizabeth II in 1952. Identifications with Shakespearean figures have been deployed to assert the Englishness of a dynasty with strong familial links to Germany and to cultivate a sense of continuity from the more autocratic Plantagenet, Tudor, and Stuart monarchs informing Shakespeare's drama to the increasingly ceremonial monarchs of the modern period. The book is driven by new archival research in the Royal Collection and Royal Archives. It reads these archives critically, asking how different forms of royal and Shakespearean performance are remembered in the material holdings of royal institutions.
Shakespeare and the Royal Actor argues that members of the royal family have identified with Shakespearean figures at various times in modern history to assert the continuity, legitimacy, and national identity of the royal line. It provides an account of the relationship between the Shakespearean afterlife and the royal family through the lens of a broadly conceived theatre history suggesting that these two hegemonic institutions had a mutually sustaining relationship from the accession of George III in 1760 to that of Elizabeth II in 1952. Identifications with Shakespearean figures have been deployed to assert the Englishness of a dynasty with strong familial links to Germany and to cultivate a sense of continuity from the more autocratic Plantagenet, Tudor, and Stuart monarchs informing Shakespeare's drama to the increasingly ceremonial monarchs of the modern period. The book is driven by new archival research in the Royal Collection and Royal Archives. It reads these archives critically, asking how different forms of royal and Shakespearean performance are remembered in the material holdings of royal institutions.
Sally Barnden has taught Shakespeare and early modern literature at King's College London, the University of Oxford, Queen Mary University, Brunel, and Central School of Speech and Drama. Her first book, Still Shakespeare and the Photography of Performance, was published by Cambridge University Press in 2020, and her scholarship has been published in Shakespeare Bulletin, Theatre Journal, and in the collection Early Modern Criticism in a Time of Crisis. As part of the AHRC-funded project 'Shakespeare in the Royal Collection,' she co-created a database and virtual exhibition, which are available online at www.sharc.kcl.ac.uk.
Introduction
1: Player Queens
2: Libertines
3: Warlike Effigies
4: Domestic Virtues
5: Royal Bodies
Epilogue
| Erscheinungsdatum | 17.02.2024 |
|---|---|
| Zusatzinfo | 45 Illustrations |
| Verlagsort | Oxford |
| Sprache | englisch |
| Maße | 160 x 240 mm |
| Gewicht | 562 g |
| Themenwelt | Kunst / Musik / Theater ► Theater / Ballett |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Anglistik / Amerikanistik | |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Literaturgeschichte | |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Literaturwissenschaft | |
| ISBN-10 | 0-19-889497-X / 019889497X |
| ISBN-13 | 978-0-19-889497-1 / 9780198894971 |
| Zustand | Neuware |
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