Shakespeare, Spectatorship and the Technologies of Performance

Description

Shakespeare, Spectatorship and the Technologies of Performance examines how rapid changes in performance technologies affect modes of spectatorship for early modern drama. It argues that seemingly disparate developments - such as the revival of early modern architectural and lighting technologies, digital performance technologies and the hybrid medium of theatre broadcast - are fundamentally related. How spectators experience performances is not only affected in medium-specific ways by particular technologies, but is also connected to the plays' roots in early modern performance environments. Aebischer's examples range from the use of candlelight and re-imagined early modern architecture, to set design, performance capture technologies, digital video, social media, hologram projection, biotechnologies and theatre broadcasts. This book argues that digital and analogue performance technologies alike activate modes of ethical spectatorship, requiring audiences to adopt an ethical standpoint as they decide how to look, where to look, what medium to look through, and how to take responsibility for looking.

Pascale Aebischer is Professor of Shakespeare and Early Modern Performance Studies at the University of Exeter. She is the author of Shakespeare's Violated Bodies (2004), Jacobean Drama (2010), and Screening Early Modern Drama (2013). Formerly the editor of Shakespeare Bulletin, she has also co-edited several collections of essays, including Performing Early Modern Drama Today (with Kathryn Prince, 2012; Choice Outstanding Academic Title winner 2013), and Shakespeare and the 'Live' Theatre Broadcast Experience (with Susanne Greenhalgh and Laurie Osborne, 2018).

'This is a brilliant, timely and provocative work of criticism, and a delight to read. Pascale Aebischer is leading the conversation in this field, and she continues to blaze a trail for the rest of us. This book is exemplary performance scholarship: rigorously argued and theoretically-informed, yet written with such a readable style and attention to detail that the performances described really come alive in the mind of the reader.' Stephen Purcell, University of Warwick