Shakespeare's texts have a long and close relationship with many different types of dance, from dance forms referenced in the plays to adaptations across many genres today. With contributions from experienced and emerging scholars, this handbook provides a concise reference on dance as both an integral feature of sixteenth- and seventeenth-century culture and as a means of translating Shakespearean text into movement - a process that raises questions of authorship and authority, cross-cultural communication, semantics, embodiment, and the relationship between word and image.Motivated by growing interest in movement, materiality, and the body, The Oxford Handbook of Shakespeare and Dance is the first collection to examine the relationship between William Shakespeare - his life, works, and afterlife - and dance. In the handbook's first section - Shakespeare and Dance - authors consider dance within the context of early modern life and culture and investigate Shakespeare's use of dance forms within his writing. The latter half of the handbook - Shakespeare as Dance - explores the ways that choreographers have adapted Shakespeare's work. Chapters address everything from narrative ballet adaptations to dance in musicals, physical theater adaptations, and interpretations using non-Western dance forms such as Cambodian traditional dance or igal, an indigenous dance form from the southern Philippines.With a truly interdisciplinary approach, The Oxford Handbook of Shakespeare and Dance provides an indispensable resource for considerations of dance and corporeality on Shakespeare's stage and the early modern era.
Table of Contents
ForewordALAN BRISSENDENAcknowledgementsList of ContributorsIntroductionLYNSEY MCCULLOCH AND BRANDON SHAWSECTION I: SHAKESPEARE AND DANCESection IntroductionJENNIFER NEVILE1. "The heaven's true figure" or an "introit to all kind of lewdness"? Competing Conceptions of Dancing in Shakespeare's EnglandEMILY WINEROCK2. Decoding Dance in Shakespeare's Much Ado About Nothing and Twelfth NightNONA MONAHIN3. "When the play is done, you shall have a Jig or dance of all treads": Danced Endings on Shakespeare's StageROGER CLEGG4. "The revellers are entering": Shakespeare and Masquing Practice in Tudor and Stuart EnglandANNE DAYE5. We Are All Made: The Socioeconomics of The Two Noble Kinsmen's Anti-Masque Morris DanceJOHN R. ZIEGLER6. The Merchant of Venice's Missing Masque: Absence, Touch, and Religious ResiduesLIZZIE LEOPOLD7. Shakespeare's Dancing Bodies: The Case of RomeoBRANDON SHAW8. Dancing with Perdita: The Choreography of Lost Time in The Winter's TaleSTEVEN SWARBRICK9. "The wisdom of your feet": Dance and Rhetoric on the Shakespearean StageFLORENCE HAZRAT10. [They Dance]: Collaborative Authorship and Dance in MacbethSETH STEWART WILLIAMS11. Dancing with the Archive: Early Dance for Shakespearean AdaptationEVELYN O'MALLEYSECTION II: SHAKESPEARE AS DANCESection IntroductionMARGARET JANE KIDNIE12. Shakespeare, Modernism, and DanceSUSAN JONES13. Dance in the Broadway Musicals of Shakespeare: Balanchine, Holms, and RobbinsRAY MILLER14. "Thou art translated: Affinity, Emulation, and Translation in George Balanchine's A Midsummer Night's DreamAMY RODGERS15. "hildings and harlots": Kenneth MacMillan's Romeo and JulietLYNSEY MCCULLOCH16. Shakespeare Ballets in Germany: From Jean-Georges Noverre to John NeumeierIRIS JULIA BÜHRLE17. "Therefore ha' done with words": Shakespeare and Innovative British BalletsELINOR PARSONS18. Measure in Everything: Adapting Hamlet to the Contemporary Dance StageELIZABETH KLETT19. Hamlet, the Ballet: Examining a Choreographic ProcessJO BUTTERWORTH20. Haunted by Hamlet: William Forsythe's SiderFREYA VASS-RHEE21. Dancing her Death: Dada Masilo's The Bitter End of Rosemary (2011) as a South African Contemporary Rethinking of Hamlet's OpheliaKATHRINA FARRUGIA-KRIEL22. Embodiment, Reciprocity, and Reception: Shakespeare Adaptations in a Black Atlantic ContextANN E. MAZZOCCA AND DENISE GILLMAN23. Shakespeare and L.O.V.E: Dance and Desire in the SonnetsJAMES HEWISON24. Incorporating the Text: John Farmanesh-Bocca's Pericles Redux and Crystal Pite's The Tempest ReplicaLINDA MCJANNET25."A delightful measure or a dance": Synetic Theater and Physical ShakespeareSHEILA T. CAVANAGHAppendix 1Appendix 2Index