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Explores Hannah Arendt's view of politics in relation to Shakespearean dramas and performances. Focuses on Arendt's understanding of nature of emotions based on Titania’s love of Bottom in Midsummer's Night Dream.
Includes one essay on Shakespeare.
Compares William Shakespeare to Francis Bacon. Argues that they share common viewpoint that "discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world." Focuses on Midsummer's Night Dream and King Lear. Introduction by David Schenck.
Miranda Johnson-Haddad, dramaturg. Rachel Berney Needleman, assistant director. Sets by Angela Balogh Calin, costumes by Christine Cover Ferro, and lighting by Ken Booth. Joyce Guy, choreographer.
Produced by A Noise Within (https://www.anoisewithin.org) at A Noise Within Theatre, Pasadena, CA, 5 February-12 March 2023.
With Joshua Bitton (Benedick), Rafael Goldstein (Don John/Verges), Alexandra Hellquist (Hero), Stanley Andrew Jackson (Claudio), Wesley Mann (Dogberry/Antonio), Tony Pasqualini (Leonato), Nick Petroccione (Balthasar/Urusula), Erika Soto (Beatrice), Frederick Stuart (Don Pedro), Jeanne Syquia (Margaret), Randy Thompson (Conrade/Friar), and Michael Uribes (Borachio).
Sets by Chris Magee; costumes by Lisa Magee.
Produced by the Port Tobacco Players (https://www.ptplayers.com) at the Port Tobacco Players Theater, La Plata, MD, 20 January-5 February 2023.
With Anthony Dieguez (Orsino), Kaitelyn Bauer-Dieguez (Viola), Nathan Daetwyler (Sebastian), Jeremy Hunter (Antonio), Dana Gattuso (Olivia), Gary Penn, (Sir Toby), Paul Morris (Sir Andrew), Cassandra Morris (Maria), Brenna Prestidge (Malvolio), Eleanore Tapscott (Feste), Emma Ansell (Valentine), Michael Beyrle, Jr. (Priest), and Alicia Zebron, Coleen Bremner, and Tara Waters (Sisters).
Investigates negotiation between rituals of touch and social bonds in Troilus and Cressida. Argues play "play puts to the spectator that the basic condition of touch, i.e. exposing oneself to another, entails an incalculable risk" and that "fragility of touch is not to be overcome." English summary, 25.
Examines Shylock's iconic "If you prick us" speech to engage with "the politics of touch," investigating "dramatic exploration of touch management" and conditions and effects of playacting. Argues Shakespeare "may have staged Shylock’s body politics so as to test the possibilities and power of his own medium, the theatre, to touch." English summary, 12.
Argues that "the connection between a literary work and its audience is dialogical and inhabited by desire or resentment." Explores how literary works employ self-reference to "model the audience’s relationship to central figures and defend against their potential resentment." Considers use of self-reference in Shakespeare plays as well as other works of early modern English literature. English summary, online.
Argues that “constancy to love is an ethical principle to which Shakespeare remains remarkably faithful in his plays.” Attends to constancy of love through figure of Hero from Much Ado About Nothing.
Draws from Richard van Oort's analysis of "Christian anthropology" of Shakespeare's ethics and aesthetics in five Shakespearean tragedies (excluding King Lear) to offer new reading of King Lear which weaves together insights from Harold Bloom, Rene Girard, and Eric Gans. Of Lear's final speech, argues that "Blessing and forgiveness, and prayer and song, are the deritualized speech acts of Lear’s jubilation, a vision of this-worldly transcendence as immunity to the contagion of rivalries governing society."