Papers by Pascale Aebischer
Shakespeare, Spectatorship and the Technologies of Performance
Multicultural Shakespeare: Translation, Appropriation and Performance, 2020
This article examines the construction of national and racial identities within Ben Jonson’s and ... more This article examines the construction of national and racial identities within Ben Jonson’s and Inigo Jones’s Masque of Blackness against the backdrop of King James’ investment in creating a ‘British’ union at the start of his reign. The article re-examines the blackface performance of the Queen and her ladies in the contexts of the Queen’s and Inigo Jones’ European connections, the Queen’s reputation as ‘wilful’, and her pregnant body’s ability to evoke widespread cultural beliefs about the maternal imagination’s power to determine a child’s racial make-up. We argue that the masque’s striking use of blue-face along with black and white-face reveals a deep investment in Britain’s ancient customs which stands in tension with Blackness’ showcasing of foreign bodies, technologies, and cultural reference points. By demonstrating the significance of understanding Queen Anna’s pregnancy and her ‘wilful’ personality within the context of early modern humoral theory, moreover, we develop e...
Shakespeare and the ‘Live’ Theatre Broadcast Experience, 2018
This is the author accepted manuscript. The final version is available from Bloomsbury via the IS... more This is the author accepted manuscript. The final version is available from Bloomsbury via the ISBN in this recordThis chapter analyses the broadcast of Roméo et Juliette (Romeo and Juliet) that launched the Comédie-Française's collaboration with Pathé Live to bring three of the theatre's shows to cinema screens in Francophone regions. I argue that the company's approach to broadcasting is typical of French cultural exceptionalism, as cinema broadcasts in France draw on their own traditions of television broadcasting and their own training methods to produce an experience that is distinctive and in tune with the production's own mixture of traditional declamatory performance styles and performers at ease with direct address to the audience, both in the Salle Richelieu and cinemas
![Research paper thumbnail of Steal[ing] out O' Th' Old Plays" in John Lacy's Sauny the Scott: Or, the Taming of the Shrew.1](https://a.academia-assets.com/images/blank-paper.jpg)
Restoration and Eighteenth-Century Theatre Research, 2001
In the "Epistle to the Reader" introducing his 1672 play The Dumb Lady, or The Farrier ... more In the "Epistle to the Reader" introducing his 1672 play The Dumb Lady, or The Farrier Made Physician, John Lacy remarked:I have observed how much more precious to a poet the issue of his brain is than that of his loins, for I have known them bury children without grief or trouble; but the issue of their brain is so dear and tender to them, that if you go about to persuade them but to cut a play or poem shorter, they are so concerned, that every line you cut is valued at a joint, and every speech a limb lopped off. Without doubt, there is a kind of madness in poetry, or else how can a man be so vainly possessed as to think his own works exceed all other men's? (Works 9-10)Lacy's mockery of his fellow authors' proprietary worries is only surprising for readers who are unaware that, in spite of his unequivocal claim to the authorship on the title page, his farce is a rewriting of Moliere's Le Medecin Malgre Lui. In ridiculing proprietary notions of authorship...
Shakespeare and the ‘Live’ Theatre Broadcast Experience, 2018
Études anglaises, 2002
Distribution électronique Cairn.info pour Klincksieck. © Klincksieck. Tous droits réservés pour t... more Distribution électronique Cairn.info pour Klincksieck. © Klincksieck. Tous droits réservés pour tous pays. La reproduction ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des conditions générales d'utilisation du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement. Toute autre reproduction ou représentation, en tout ou partie, sous quelque forme et de quelque manière que ce soit, est interdite sauf accord préalable et écrit de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Il est précisé que son stockage dans une base de données est également interdit.
Shakespeare Bulletin, 2014
The Jarman 2014 celebration in memory of the life and work of Derek Jarman (1942-94) has acted as... more The Jarman 2014 celebration in memory of the life and work of Derek Jarman (1942-94) has acted as a catalyst for publications, performances, screenings, exhibitions, talks, and conferences that have emphasized the enduring power of Derek Jarman's art and the centrality within that art of his engagement, through subject matter and form, with the Renaissance. 1 As evident from the number of essays in this special issue that focus on Jarman's 1991 adaptation of Christopher Marlowe's Edward II (published 1594), this film, more than any other of his books, sets designs, paintings, screenplays, and films, has come to embody the quintessential "Jarmanesque" blend of Renaissance subject matter with queer activism, avant-garde performance, poetry, music, and extraordinarily evocative visuals. The purpose of this essay is to disentangle some of the strands that make up the film. Via a journey through the public Jarman archives at the British Film Institute in London (BFI) and the Bill Douglas Cinema Museum in Exeter (BDC), as well as the privately-held materials in Prospect Cottage, Dungeness (PC), I will trace the development of Jarman's ideas about Marlowe's tragedy from his student days at King's College London, through the film Edward II, to the unpublished screenplay of "Pansy," the satirical musical that represents Jarman's final oblique adaptation of the story of Edward II. My focus will be on the materiality of Jarman's workbooks, the 12 x 12 inch photograph albums in which Jarman interlaced his scripts with collages of cutouts , diary entries, and citations, creating a present-day equivalent of sorts to the early modern commonplace book. The many
Renaissance Quarterly, 2015
Actes des congrès de la Société française Shakespeare, 1999
Shakespeare Quarterly, 2009
T he turn of the millennium saw something of a boom in film versions of non-Shakespeare Jacobean ... more T he turn of the millennium saw something of a boom in film versions of non-Shakespeare Jacobean drama. Marcus Thompson released Middleton's Changeling in 1998; Mike Figgis' s Hotel, which features an adaptation of The Duchess of Malfi, was released in 2001; and Alex Cox' s Revengers Tragedy appeared in 2002. Following, as they do, a wave of productivity in high-profile Shakespeare adaptations on screen, these films are striking for the way in which they pitch themselves against the nostalgic, spectacular mainstream Shakespeare productions mounted, most prominently, by the significantly named "Renaissance Films" and "Renaissance Theatre Company" associated with Kenneth Branagh' s early career. Contrary to conservative Shakespeare films such as these, with their use of period costume, linear storytelling, and reverential attitude toward the Shakespearean text, the films by Thompson, Figgis, and Cox are deliberate in their use of anachronism, narrative disjunction, and irreverence toward their source texts. Adapting the terminology used by Susan Bennett in Performing Nostalgia, I would like to call the countercinematic and counter-Shakespearean aesthetic they cultivate "contemporary Jacobean." 1 Warm thanks to Nicolas Tredell and Sonia Baker, who unwittingly pushed me in the right direction, and to Mike Figgis and Tara Smith for their generous help with the illustrations, which are included with Mike Figgis' s kind permission. I also thank Kate McLuskie, Lucy Munro, and Gordon McMullan for inviting me to research seminars in London and Stratford in 2007, where this research was first presented and where I received encouragement and feedback. See Gordon McMullan' s "Plenty of blood. That' s the only writing": (Mis)Representing Jacobean Tragedy in Turn-of-the-Century Cinema," La Licorne 2 (2008), online at http://edel.univ-poitiers.fr/licorne/ document.php?id=4274 (accessed 13 July 2009), which picks up on a number of ideas I presented there. Thanks also to my Renaissance and film colleagues at Exeter and elsewhere-in particular,
Shakespeare Bulletin, 2008
Comparative Drama, 2004
... The most cash-driven art form in history, film from the begin-ning has been enslaved to "... more ... The most cash-driven art form in history, film from the begin-ning has been enslaved to "tickling commodity." Marx's insight that capital-ism's gains for humanity's material comfort often come at the price of its soul needs no better illustration. ...
Letras, 2021
Este artigo acompanha o período de desenvolvimento da transmissão teatral no Reino Unido dentre 2... more Este artigo acompanha o período de desenvolvimento da transmissão teatral no Reino Unido dentre 2009, quando a NT Live lançou sua operação de transmissão, e 2019. Defende a necessidade de considerar o impacto que as tecnologias de transmissão teatral têm na produção e na recepção de Shakespeare tanto na Grã-Bretanha como ao redor do mundo, considerando-se que as transmissões estão cada vez mais aptas a se tornarem substitutas da experiência de teatro que promovem. A primeira parte do artigo considera o alcance diferencial deste fenômeno supostamente "global" em continentes diversos e explora o risco de que grandes companhias como a National Theatre, a RSC e a Shakespeare's Globe construam monopólios culturais que possam restringir a participação de companhias menores. A segunda parte considera as técnicas de câmera utilizadas pelas transmissões e dá uma atenção especial à relação entre a montagem de proscênio no teatro e a bidimensionalidade da tela de cinema em Romeu ...
This study looks at the violation of bodies in Shakespeare's tragedies, especially as reveal... more This study looks at the violation of bodies in Shakespeare's tragedies, especially as revealed (or concealed) in performance on stage and screen. Pascale Aebischer discusses stage and screen performances of Titus Andronicus, Hamlet, Othello and King Lear with a view to showing how bodies which are virtually absent from both playtexts and critical discourse (due to silence, disability, marginalisation, racial otherness or death) can be prominent in performance, where their representation reflects the cultural and political climate of the production. Aebischer focuses on post-1980 Royal Shakespeare Company and Royal National Theatre productions but also covers film adaptations and landmark productions from the nineteenth century onwards. Her book will interest scholars and students of Shakespeare, gender, performance and cultural studies.
Shakespeare Quarterly, 2012
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Papers by Pascale Aebischer