Reenacting Shakespeare in the Shakespeare Aftermath

PART 1: INTRODUCTION

Chapter 1: Reenacting Shakespeare in the Shakespeare Aftermath

1.1) Mapping the Terrain

1.2) Points of Departure

1.3) Excess, Exhaustion, Reenactment

1.4) Experiment, Exception, Avant-Garde

1.5) Case Study: Shakespeare through the Lookingglass

Chapter 2: The Intermedial Turn & Turn to Embodiment

            2.1) The Intermedial Turn
2.2) The Turn to Embodiment2.3) Case Study: The Wooster Group Meets the RSC at the Swan

            2.4 ) A Brief Postdramatic Postscript

PART 2: GHOSTS OF HISTORY

Chapter 3:  Ghosts of History: Edward Bond's Lear & Bingo, Heiner Müller's

Hamletmachine

            3.1) Ghosts of a Dead Religion

            3.2) The Writing on the Wall
            3.3) "Was anything done"?            3.4) "The script has been lost"

Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus,

Forget Hamlet & Haider

4.1) Prelude: Anatomie Titus

4.2  Forgetting Hamlet 

            4.3) Building a Better Mousetrap

            4.4) States of Exception

Chapter 5: Peter Greenaway's Montage of Attractions: Prospero's Books and the

Paratextual Imagination

            5.1) Genealogies

            5.2) A Montage of Attractions

            5.3) Animated Displays

            5.4) The Virtual Future

PART 3: GHOSTS OF THE MACHINE

Chapter 6: Channeling the Ghosts: the Wooster Group's Remediation of the 1964

Electronovision Hamlet

            6.1) The Tenth Age of Shakespeare

            6.2) "The peculiar intensity and nerves of this"

            6.3)  Channeling the Ghosts

            6.4) "The media's the thing"

            6.5) "The best in this kind"

Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman

Tragedies & the Problem of Spectatorship

            7.1) The Problem & Politics of Spectacle

            7.2) High-Tech Shakespeare

7.3) Van Hove's Mediatized Globe

7.4) The

Thomas Cartelli is Professor of English & Film Studies at Muhlenberg College, USA. He is author of Marlowe, Shakespeare, and the Economy of Theatrical Experience (1991), Repositioning Shakespeare (1999), and co-author (with Katherine Rowe) of New Wave Shakespeare on Screen (2007). He has also edited The Norton Critical Richard III (2009).