Book contents
- Frontmatter
- CONTENTS
- ILLUSTRATIONS
- The Commercial Bard: Business Models for the Twenty-First Century
- International Innovation? Shakespeare as Intercultural Catalyst
- Brand Shakespeare?
- Global Shakespeare 2.0 and the Task of the Performance Archive
- An International Database of Shakespeare on Film, Television and Radio
- ‘Sounds and Sweet Airs’: Music in Shakespearian Performance History
- Using Shakespeare with Memes, Remixes and Fanfic
- ‘Pretty Much how the Internet Works’; or, Aiding and Abetting the Deprofessionalization of Shakespeare Studies
- Catalysing What? Historical Remediation, the Musical, and What of Love's Labour's Lasts
- Kabuki Twelfth Night and Kyogen Richard III: Shakespeare as a Cultural Catalyst
- The Sonnets as an Open-Source Initiative
- ‘A Stage of the Mind’: Hamlet on Post-War British Radio
- Post-Textual Shakespeare
- I am What I am Not: Identifying with the Other in Othello
- Desdemona's Book, Lost and Found
- Non-Catalyst and Marginal Shakespeares in the Nineteenth-Century Revival of Catalan-Speaking Cultures
- Shakespeare, Mácha and Czech Romantic Historicism
- An Irish Catalysis: W. B. Yeats and the Uses of Shakespeare
- François-Victor Hugo and the Limits of Cultural Catalysis
- ‘You Taught me Language’: Shakespeare in India
- There is Some Soul of Good: An Action-Centred Approach to Teaching Shakespeare in Schools
- The Royal Shakespeare Company as ‘Cultural Chemist’
- Shakespeare at the White Greyhound
- Dark Matter: Shakespeare’s Foul Dens and Forests
- What We Hear; What we see: Theatre for a New Audience's 2009 Hamlet
- Narrative of Negativity: Whig Historiography and the Spectre of King James in Measure for Measure
- Québécois Shakespeare goes Global: Robert Lepage's Coriolan
- Endless Mornings on Endless Faces: Shakespeare and Philip Larkin
- Shakespeare Performances in England 2010
- Professional Shakespeare Productions in the British Isles, January–December 2009
- The Year’s Contribution to Shakespeare Studies
- INDEX
- References
Global Shakespeare 2.0 and the Task of the Performance Archive
Published online by Cambridge University Press: 28 November 2011
Edited by
Book contents
- Frontmatter
- CONTENTS
- ILLUSTRATIONS
- The Commercial Bard: Business Models for the Twenty-First Century
- International Innovation? Shakespeare as Intercultural Catalyst
- Brand Shakespeare?
- Global Shakespeare 2.0 and the Task of the Performance Archive
- An International Database of Shakespeare on Film, Television and Radio
- ‘Sounds and Sweet Airs’: Music in Shakespearian Performance History
- Using Shakespeare with Memes, Remixes and Fanfic
- ‘Pretty Much how the Internet Works’; or, Aiding and Abetting the Deprofessionalization of Shakespeare Studies
- Catalysing What? Historical Remediation, the Musical, and What of Love's Labour's Lasts
- Kabuki Twelfth Night and Kyogen Richard III: Shakespeare as a Cultural Catalyst
- The Sonnets as an Open-Source Initiative
- ‘A Stage of the Mind’: Hamlet on Post-War British Radio
- Post-Textual Shakespeare
- I am What I am Not: Identifying with the Other in Othello
- Desdemona's Book, Lost and Found
- Non-Catalyst and Marginal Shakespeares in the Nineteenth-Century Revival of Catalan-Speaking Cultures
- Shakespeare, Mácha and Czech Romantic Historicism
- An Irish Catalysis: W. B. Yeats and the Uses of Shakespeare
- François-Victor Hugo and the Limits of Cultural Catalysis
- ‘You Taught me Language’: Shakespeare in India
- There is Some Soul of Good: An Action-Centred Approach to Teaching Shakespeare in Schools
- The Royal Shakespeare Company as ‘Cultural Chemist’
- Shakespeare at the White Greyhound
- Dark Matter: Shakespeare’s Foul Dens and Forests
- What We Hear; What we see: Theatre for a New Audience's 2009 Hamlet
- Narrative of Negativity: Whig Historiography and the Spectre of King James in Measure for Measure
- Québécois Shakespeare goes Global: Robert Lepage's Coriolan
- Endless Mornings on Endless Faces: Shakespeare and Philip Larkin
- Shakespeare Performances in England 2010
- Professional Shakespeare Productions in the British Isles, January–December 2009
- The Year’s Contribution to Shakespeare Studies
- INDEX
- References
Summary
Crises often usher in great opportunities for innovation. In the face of stiff competition from other forms of entertainment, theatre artists have gone global and digital, taking Shakespeare with them. Hundreds of thousands of Shakespeare-related videos including promotional clips for stage productions – buoyed by a tag cloud – ‘live’ on the English- and Japanese-language portals of YouTube and other video-sharing and social networking sites around the world. Some of these may be transient, but digital video is a large part of Shakespeare's presence in contemporary world cultures, reconceptualizing the idea of liveness and archive. As digital screens become ‘the default interfaces for media access’ and data mining, the public can express themselves audiovisually on these sites while shaping the resulting archive.
What are digital video's functions? How can those functions be best facilitated in the field of Shakespeare studies when the disciplinary boundary between text and performance is blurred by virtual performative texts? This article surveys the state of global Shakespeare and analyses the implications of digital video in current and future scholarly and pedagogic practice. While recent scholarship has begun to address Shakespeare's place in the new media and digital culture, it has not fully engaged the digital video archive's impact on the field due in part to a continued interest in new textualities in ‘the late age of print’.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 38 - 51Publisher: Cambridge University PressPrint publication year: 2011
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