Search & Browse

Reflects on "stakes of the global Shakespeare business" and continued promotion of "the Shakespeare brand" even after public closures during COVID-19 pandemic. Discusses how cultural producers have sought to "foster spectatorial imagination of a post-pandemic world when Shakespeare tourism will once again be viable."

Discusses recent rediscovery of remains of Rose Playhouse, theatre used in early modern London, and how its partial excavation impacted archaeological preservation in Great Britain. Argues rediscovery of Rose also impacted field of Shakespeare studies, as it provoked new interest in original practice and architectural reconstructions of early modern playhouses. 

Examines digital application Globe 360 which creates user experience to be placed within digital Globe Playhouse. Argues Shakespeare’s Globe through Globe 360 "engages in transmedial, trans-historical performance that transports the visitor full-circle across trans-temporal boundaries by using twenty-first century technology."

Argues Shakespeare memes circulating online work as souvenirs and curios, or mementos of experiencing Shakespeare in virtual places. Employs David Hume's theory of souvenirs helping to construction "collective cultural narrative" to consider fan tourism that extends to fictional settings. 

Employs auto-ethnographic approach to consider experience of international tourist-spectator at production of Hamlet (2018, q.v.) by Romanian company Unteatru as it toured through European Shakespeare Festivals Network (ESFN). 

Argues Stratford, Ontario's Shakespeare Festival's production of As You Like It (2016, q.v.), set in Newfoundland, Canada, belongs to "Stratford’s tradition of staging exotic locales for its international audiences to regard with a tourist gaze that views such places as tourists do." Argues Perchance Theatre and Ontario's Stratford Festival both depict Newfoundland as tourist place, construing audiences as "tourists-pilgrims who undertake journeys to enjoy a characteristically touristic respite from their quotidian existence."

Explores staging of Shakespeare's works by Jean Deschamps in Languedoc, southern France, in mid-twentieth century. Examines how productions played "role in linking tangible and intangible heritage, territorial and cultural policies, in festive and civic events that enhanced the history, architecture and natural environment of Languedoc." 

Affirms Hans Urs von Balthasar's claim about  a "diversity of contemporary philosophies moving ‘concentrically’ toward a ‘dramatic theology." and considers how dramatic theology might be enhanced through study of Shakespeare's experiments with tragedy and tragicomedy. English summary, online.

Includes four essays on Shakespeare.

Charts comprehensive history of Tudor period, including monarchical histories and social histories of Tudor people. Discusses Shakespearean drama and politics of performance of Shakespeare plays during Elizabethan period.