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Popular Shakespeare = simulation and...

Purcell, Stephen, (1981-)

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Popular Shakespeare = simulation and subversion on the modern stage /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Popular Shakespeare/ Stephen Purcell.
Reminder of title:	simulation and subversion on the modern stage /
Author:	Purcell, Stephen,
Published:	Basingstoke [England] ;Palgrave Macmillan, : 2009.,
Description:	ix, 262 p. :ill. ;23 cm.
[NT 15003449]:	Contents -- Preface -- Acknowledgements -- Personal Narrative I: Ambiguous Applause -- Popular Shakespeares -- Personal Narrative II: Stand-up Shakespeare -- Text and Metatext: Shakespeare and Anachronism -- Personal Narrative III: Jeffrey Archer: The One That Got Away -- 'A Play Extempore': Interpolation, Improvisation, and Unofficial Speech -- Personal Narrative IV: A Bit Sexist -- 'It's Like a Shakespeare Play!': Parodic Appropriations of Shakespeare -- Personal Narrative V: Blasphemy -- Shakespeare's Popular Audience: Reconstructions and Deconstructions -- Personal Narrative VI: Alternative Endings -- Shakespeare, Space, andthe 'Popular' -- Personal Narrative VII: 'It's the FamousBit!': Fragments of Romeo and Juliet -- Shakespearean 'Samples' -- Personal Narrative VIII: Rough Magic -- Notes -- Bibliography -- Index.
Online resource:	http://link.springer.com/10.1057/9780230234222access to fulltext (Palgrave)
ISBN:	0230234224

Popular Shakespeare = simulation and subversion on the modern stage /
Purcell, Stephen,1981-

Popular Shakespearesimulation and subversion on the modern stage /[electronic resource] :Stephen Purcell. - Basingstoke [England] ;Palgrave Macmillan,2009. - ix, 262 p. :ill. ;23 cm.

Includes bibliographical references (p. 234-248) and index.

Contents -- Preface -- Acknowledgements -- Personal Narrative I: Ambiguous Applause -- Popular Shakespeares -- Personal Narrative II: Stand-up Shakespeare -- Text and Metatext: Shakespeare and Anachronism -- Personal Narrative III: Jeffrey Archer: The One That Got Away -- 'A Play Extempore': Interpolation, Improvisation, and Unofficial Speech -- Personal Narrative IV: A Bit Sexist -- 'It's Like a Shakespeare Play!': Parodic Appropriations of Shakespeare -- Personal Narrative V: Blasphemy -- Shakespeare's Popular Audience: Reconstructions and Deconstructions -- Personal Narrative VI: Alternative Endings -- Shakespeare, Space, andthe 'Popular' -- Personal Narrative VII: 'It's the FamousBit!': Fragments of Romeo and Juliet -- Shakespearean 'Samples' -- Personal Narrative VIII: Rough Magic -- Notes -- Bibliography -- Index.

In recent years, the 'Popular Shakespeare' phenomenon has become ever more pervasive: whetherin fringe productions, mainstream theatre, orthe mass media, Shakespeare is increasingly constructed as an authentic part of popular culture. Naturally, these attempts to bring one of the most iconicsymbols of high art into the realm of the popular have their problems. 'Popular Shakespeares' will frequently attempt to re-write the past or ignore cultural difference, postulating a universal appeal which transcends the barriers of class, nationality, and even history. Others, however, will poke fun at Shakespeare's cultural authority, parodying and appropriating the texts in a more subversive fashion. Veryoften, these contradictory attitudes will be found existing side-by-side and inconsistently within one piece of work. A vivid and wide-ranging account of Shakespearean performance in Britain since the 1990s, this book examines an interrelated set of shifts in what the name 'Shakespeare' means to us today.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2009.

Mode of access:World Wide Web.

ISBN: 0230234224Subjects--Personal Names:

585176
Shakespeare, William,
1564-1616--AdaptationsIndex Terms--Genre/Form:

542853
Electronic books.

LC Class. No.: PR2880.A1 / P87 2009

Dewey Class. No.: 822.3/3

Popular Shakespeare = simulation and subversion on the modern stage /
LDR:02993nmm 2200289 a 45 001 911839
003 OCoLC
005 20110114
006 m d
007 cr cn|
008 231227s2009 enka sb 001 0 eng d
020 $a 0230234224
020 $a 9780230234222
035 $a (OCoLC)319175664
035 $a ocn319175664
035 $a 911839
040 $a UKPGM $b eng $c UKPGM
049 $a APTA
050 1 4 $a PR2880.A1 $b P87 2009
082 0 4 $a 822.3/3 $2 22
100 1 $a Purcell, Stephen, $d 1981- $3 1098943
245 1 0 $a Popular Shakespeare $h [electronic resource] : $b simulation and subversion on the modern stage / $c Stephen Purcell.
260 $a Basingstoke [England] ; $a New York : $c 2009. $b Palgrave Macmillan,
300 $a ix, 262 p. : $b ill. ; $c 23 cm.
504 $a Includes bibliographical references (p. 234-248) and index.
505 0 $a Contents -- Preface -- Acknowledgements -- Personal Narrative I: Ambiguous Applause -- Popular Shakespeares -- Personal Narrative II: Stand-up Shakespeare -- Text and Metatext: Shakespeare and Anachronism -- Personal Narrative III: Jeffrey Archer: The One That Got Away -- 'A Play Extempore': Interpolation, Improvisation, and Unofficial Speech -- Personal Narrative IV: A Bit Sexist -- 'It's Like a Shakespeare Play!': Parodic Appropriations of Shakespeare -- Personal Narrative V: Blasphemy -- Shakespeare's Popular Audience: Reconstructions and Deconstructions -- Personal Narrative VI: Alternative Endings -- Shakespeare, Space, andthe 'Popular' -- Personal Narrative VII: 'It's the FamousBit!': Fragments of Romeo and Juliet -- Shakespearean 'Samples' -- Personal Narrative VIII: Rough Magic -- Notes -- Bibliography -- Index.
520 $a In recent years, the 'Popular Shakespeare' phenomenon has become ever more pervasive: whetherin fringe productions, mainstream theatre, orthe mass media, Shakespeare is increasingly constructed as an authentic part of popular culture. Naturally, these attempts to bring one of the most iconicsymbols of high art into the realm of the popular have their problems. 'Popular Shakespeares' will frequently attempt to re-write the past or ignore cultural difference, postulating a universal appeal which transcends the barriers of class, nationality, and even history. Others, however, will poke fun at Shakespeare's cultural authority, parodying and appropriating the texts in a more subversive fashion. Veryoften, these contradictory attitudes will be found existing side-by-side and inconsistently within one piece of work. A vivid and wide-ranging account of Shakespearean performance in Britain since the 1990s, this book examines an interrelated set of shifts in what the name 'Shakespeare' means to us today.
533 $a Electronic reproduction. $b Basingstoke, England : $c Palgrave Macmillan, $d 2009. $n Mode of access:World Wide Web. $n System requirements: Web browser. $n Title from title screen (viewed on Apr. 24, 2009). $n Access may be restricted to users at subscribing institutions.
600 1 0 $a Shakespeare, William, $d 1564-1616 $x Adaptations $x History and criticism. $3 585176
600 1 0 $a Shakespeare, William, $d 1564-1616 $x Appreciation $z Great Britain. $3 787677
600 1 0 $a Shakespeare, William, $d 1564-1616 $x Dramatic production. $3 522922
655 7 $a Electronic books. $2 lcsh $3 542853
710 2 $a Palgrave Connect (Online service) $3 1081578
856 4 0 $3 Palgrave Connect $u http://link.springer.com/10.1057/9780230234222 $z access to fulltext (Palgrave)