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Cross-gender Shakespeare and English...

Klett, Elizabeth.

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Cross-gender Shakespeare and English national identity = wearing the codpiece /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Cross-gender Shakespeare and English national identity/ Elizabeth Klett.
其他題名:	wearing the codpiece /
作者:	Klett, Elizabeth.
出版者:	New York, NY :Palgrave Macmillan, : 2009.,
面頁冊數:	x, 208 p. ;22 cm.
內容註:	Introduction : wearing the codpiece -- The king's many bodies : Fiona Shaw's Richard II (1995-96) -- Playing with contradictions : Kathryn Hunter's King Lear (1997) -- Gender in exile : VanessaRedgrave's Prospero in The tempest (2000) -- Staging and subverting nostalgia : Dawn French's Bottom in A midsummer night's dream (2001) -- Vice-versa : all-female Shakespeare at the Globe Theatre (2003-04).
標題:	Sex role in the theater. -
電子資源:	http://link.springer.com/10.1057/9780230622609access to fulltext (Palgrave)
ISBN:	0230622607

Cross-gender Shakespeare and English national identity = wearing the codpiece /
Klett, Elizabeth.

Cross-gender Shakespeare and English national identitywearing the codpiece /[electronic resource] :Elizabeth Klett. - 1st ed. - New York, NY :Palgrave Macmillan,2009. - x, 208 p. ;22 cm.

Includes bibliographical references and index.

Introduction : wearing the codpiece -- The king's many bodies : Fiona Shaw's Richard II (1995-96) -- Playing with contradictions : Kathryn Hunter's King Lear (1997) -- Gender in exile : VanessaRedgrave's Prospero in The tempest (2000) -- Staging and subverting nostalgia : Dawn French's Bottom in A midsummer night's dream (2001) -- Vice-versa : all-female Shakespeare at the Globe Theatre (2003-04).

This astute book examines the cultural implications of reactions to contemporary performancesin which Richard II, Lear, Prospero, Bottom, Richard III, Petruchio, and Benedick were played by women. Elizabeth Klett argues that the critical uproar in the British press provoked by these performances signals a deep-seated anxiety about the status of Shakespeare within British culture. By dismissing, mocking, or railing against these women, reviewers inadvertently demonstrate the power of theseproductions to disrupt a series of established forms: mimetic theater,normative gender identity, Shakespearean authority, and English national identity. This book discusses the ways these women's performances are changing the British theater, inviting their audiences to think differently about Shakespeare, their nation, and themselves.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2010.

Mode of access:World Wide Web.

ISBN: 0230622607

Standard No.: 10.1057/9780230622609doiSubjects--Personal Names:

1098591
Shakespeare, William,
1564-1616--Appreciation--England.Subjects--Topical Terms:

925108
Sex role in the theater.
Index Terms--Genre/Form:

542853
Electronic books.

LC Class. No.: PR3100 / .K58 2009

Dewey Class. No.: 792.4/5

Cross-gender Shakespeare and English national identity = wearing the codpiece /
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020 $a 9780230622609
024 7 $a 10.1057/9780230622609 $2 doi
035 $a (OCoLC)497757205
035 $a ocn497757205
035 $a 911680
040 $a UKPGM $b eng $c UKPGM $d EBLCP
043 $a e-uk-en
049 $a APTA
050 1 4 $a PR3100 $b .K58 2009
082 0 4 $a 792.4/5 $2 22
100 1 $a Klett, Elizabeth. $3 1098590
245 1 0 $a Cross-gender Shakespeare and English national identity $h [electronic resource] : $b wearing the codpiece / $c Elizabeth Klett.
250 $a 1st ed.
260 $a New York, NY : $c 2009. $b Palgrave Macmillan,
300 $a x, 208 p. ; $c 22 cm.
504 $a Includes bibliographical references and index.
505 0 $a Introduction : wearing the codpiece -- The king's many bodies : Fiona Shaw's Richard II (1995-96) -- Playing with contradictions : Kathryn Hunter's King Lear (1997) -- Gender in exile : VanessaRedgrave's Prospero in The tempest (2000) -- Staging and subverting nostalgia : Dawn French's Bottom in A midsummer night's dream (2001) -- Vice-versa : all-female Shakespeare at the Globe Theatre (2003-04).
520 $a This astute book examines the cultural implications of reactions to contemporary performancesin which Richard II, Lear, Prospero, Bottom, Richard III, Petruchio, and Benedick were played by women. Elizabeth Klett argues that the critical uproar in the British press provoked by these performances signals a deep-seated anxiety about the status of Shakespeare within British culture. By dismissing, mocking, or railing against these women, reviewers inadvertently demonstrate the power of theseproductions to disrupt a series of established forms: mimetic theater,normative gender identity, Shakespearean authority, and English national identity. This book discusses the ways these women's performances are changing the British theater, inviting their audiences to think differently about Shakespeare, their nation, and themselves.
533 $a Electronic reproduction. $b Basingstoke, England : $c Palgrave Macmillan, $d 2010. $n Mode of access:World Wide Web. $n System requirements: Web browser. $n Title from title screen (viewed on Jan. 11, 2010). $n Access may be restricted to users at subscribing institutions.
600 1 0 $a Shakespeare, William, $d 1564-1616 $x Appreciation $z England. $3 1098591
600 1 0 $a Shakespeare, William, $d 1564-1616 $x Stage history $y 1950- $3 523114
650 0 $a Sex role in the theater. $3 925108
650 0 $a Theater and society $z England. $3 870094
650 0 $a Theater $x Casting $z England. $3 1098592
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/10.1057/9780230622609 $z access to fulltext (Palgrave)