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The Oxford Handbook of Shakespeare and Dance

Edited by Lynsey McCulloch and Brandon Shaw

Oxford Handbooks

Promotes collaboration between literary and dance research
Explores Shakespeare's use of dance as a theatrical device and a thematic reference
Includes discussions on race, sexuality, and contemporary politics

The Oxford Handbook of Shakespeare and Dance

Edited by Lynsey McCulloch and Brandon Shaw

Description

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.

The Oxford Handbook of Shakespeare and Dance

Edited by Lynsey McCulloch and Brandon Shaw

Oxford Handbooks

Foreword, Alan Brissenden
Acknowledgements

List of Contributors

Introduction, Lyndsey McCulloch and Brandon Shaw
SECTION I: SHAKESPEARE AND DANCE
Section Introduction, Jennifer Nevile
1:"The heaven's true figure" or an "introit to all kin d of lewdness"? Competing Conceptions of Dancing in Shakespeare's England, Emily Winerock
2:Decoding Dance in Shakespeare's Much Ado About Nothing and Twelfth Night, Nona Monahin
3:"When the play is done, you shall have a Jig or dance of all treads": Danced Endings on Shakespeare's Stage, Roger Clegg
4:"The revellers are entering": Shakespeare and Masquing Practice in Tudor and Stuart England, Anne Daye
5:We Are All Made: The Socioeconomics of The Two Noble Kinsmen's Anti-Masque Morris Dance, John R. Ziegler
6:The Merchant of Venice's Missing Masque: Absence, Touch, and Religious Residues, Lizzie Leopold
7:Shakespeare's Dancing Bodies: The Case of Romeo, Brandon Shaw
8:Dancing with Perdita: The Choreography of Lost Time in The Winter's Tale, Steven Swarbrick
9:"The wisdom of your feet": Dance and Rhetoric on the Shakespearean Stage, Florence Hazrat
10:[They Dance]: Collaborative Authorship and Dance in Macbeth, Seth Stewart Williams
11:Dancing with the Archive: Early Dance for Shakespearean Adaptation, Evelyn O'Malley
SECTION II: SHAKESPEARE AS DANCE
Section Introduction, Margaret Jane Kidnie
12:Shakespeare, Modernism, and Dance, Susan Jones
13:Dance in the Broadway Musicals of Shakespeare: Balanchine, Holms, and Robbins, Ray Miller
14:"Thou art translated: Affinity, Emulation, and Translation in George Balanchine's A Midsummer Night's Dream, Amy Rodgers
15:"hildings and harlots": Kenneth MacMillan's Romeo and Juliet, Lynsey McCulloch
16:, Shakespeare Ballets in Germany: From Jean-Georges Noverre to John Neumeier
17:"Therefore ha' done with words": Shakespeare and Innovative British Ballets, Elinor Parsons
18:Measure in Everything: Adapting Hamlet to the Contemporary Dance Stage, Elizabeth Klett
19: Hamlet, the Ballet: Examining a Choreographic Process, Jo Butterworth
20:Haunted by Hamlet: William Forsythe's Sider, Freya Vass- Rhee
21:Dancing her Death: Dada Masilo's The Bitter End of Rosemary (2011) as a South African Contemporary Rethinking of Hamlet's Ophelia, Kathrina Farrugia-Kriel
22:Embodiment, Reciprocity, and Reception: Shakespeare Adaptations in a Black Atlantic Context, Ann E. Mazzocca and Denise Gillman
23:Shakespeare and L.O.V.E: Dance and Desire in the Sonnets, James Hewison
24:Incorporating the Text: John Farmanesh-Bocca's Pericles Redux and Crystal Pite's The Tempest Replica, Linda McJannet
25:"A delightful measure or a dance": Synetic Theater and Physical Shakespeare, Sheila T. Cavanagh
Appendix 1
Appendix 2
Index

The Oxford Handbook of Shakespeare and Dance

Edited by Lynsey McCulloch and Brandon Shaw

Oxford Handbooks

Author Information

Edited by Lynsey McCulloch, Lecturer in English Literature, Coventry University, and Edited by Brandon Shaw, Independent Scholar

Lynsey McCulloch is Senior Lecturer in English Literature at Coventry University and an Associate Member of its Centre for Dance Research (C-DaRE). She researches the relationship between literature and dance. A dance scholar-practitioner, Brandon Shaw's research interests include literature and dance, early modern European body culture, phenomenology, dance historiography, US Race Studies, and representations of the invisible in dance. He was the inaugural Mellon Postdoctoral Fellow in Dance Studies at Brown University and the recipient of the 2016 Gertrude Lippincott Award for outstanding publication in the field of Dance Studies.

Contributors:

ALAN BRISSENDEN is an Honorary Visiting Research Fellow at the University of Adelaide.

IRIS JULIA BÜHRLE is a Leverhulme Early Career Fellow in English at the University of Oxford.

JO BUTTERWORTH is Professor of Dance Studies at the University of Malta.

SHEILA T. CAVANAGH is Professor of English at Emory University.

ROGER CLEGG is an independent researcher and formerly Senior Lecturer in Drama at De Montfort University.

ANNE DAYE is a Lecturer in Dance History at Trinity Conservatoire of Music and Dance.

KATHRINA FARRUGIA-KRIEL is Head of Research at the Royal Academy of Dance.

DENISE GILLMAN is an Associate Professor in Directing and Dramatic Literature at Christopher Newport University in Newport News, Virginia.

FLORENCE HAZRAT recently completed her PhD on early modern music and poetry at the University of St Andrews and has taken up a postdoctoral position at the Université de Genève.

JAMES HEWISON is a Senior Lecturer in Dance at Edge Hill University.

SUSAN JONES is Professor of English Literature at the University of Oxford and Fellow of St Hilda's College.

MARGARET JANE KIDNIE is Professor of English Studies at the University of Western Ontario.

ALAN BRISSENDEN is Honorary Visiting Research Fellow at the University of Adelaide.

IRIS JULIA BÜHRLE is Leverhulme Early Career Fellow in English at the University of Oxford.

JO BUTTERWORTH is Professor of Dance Studies at the University of Malta.

SHEILA T. CAVANAGH is Professor of English at Emory University.

ROGER CLEGG is an independent researcher and formerly Senior Lecturer in Drama at De Montfort University.

ANNE DAYE is Lecturer in Dance History at Trinity Conservatoire of Music and Dance.
KATHRINA FARRUGIA-KRIEL is Head of Research at the Royal Academy of Dance.

DENISE GILLMAN is Associate Professor in Directing and Dramatic Literature at Christopher Newport University in Newport News, Virginia.

FLORENCE HAZRAT recently completed her PhD on early modern music and poetry at the University of St Andrews and has taken up a postdoctoral position at the Université de Genève.

JAMES HEWISON is Senior Lecturer in Dance at Edge Hill University.

SUSAN JONES is Professor of English Literature at the University of Oxford and Fellow of St Hilda's College.

MARGARET JANE KIDNIE is Professor of English Studies at the University of Western Ontario.

ELIZABETH KLETT is Associate Professor of Literature at the University of Houston, Clear Lake.

LIZZIE LEOPOLD recently completed her interdisciplinary PhD at Northwestern University in Theater and Drama Studies.

ANN E. MAZZOCCA is Associate Professor of Dance at Christopher Newport University in Newport News, Virginia.

LYNSEY MCCULLOCH is Senior Lecturer in English Literature at Coventry University and an associate member of Coventry University's Centre for Dance Research (C-DaRE).

LINDA MCJANNET is Professor of English and Media Studies (Emeritus) at Bentley University, Waltham, MA, and co-founder of The Shakespeare and Dance Project.

RAY MILLER is Professor of Dance Studies and Theatre Arts at Appalachian State University.

NONA MONAHIN is Instructor in Renaissance and Baroque Dance in the Five College Early Music Program at Mount Holyoke College.

JENNIFER NEVILE is Honorary Senior Lecturer in Dance at the University of New South Wales in Sydney, Australia.

EVELYN O'MALLEY is Lecturer in Drama/Theatre/Performance studies at the University of Exeter.

ELINOR PARSONS is Senior Lecturer in Drama at De Montfort University, Leicester.

AMY RODGERS is Assistant Professor of English and Film Studies at Mount Holyoke College and a co-founder of the Shakespeare and Dance Project.

BRANDON SHAW is Lecturer in Dance Studies at the University of Malta.

STEVEN SWARBRICK is Assistant Professor of English at Baruch College, CUNY.

FREYA VASS-RHEE is Lecturer in Drama and Theatre at the University of Kent and a dance dramaturg.

SETH STEWART WILLIAMS is a doctoral candidate in English literature at Columbia University and a Summer Graduate Fellow at the Center for Ballet and the Arts.

EMILY WINEROCK is Visiting Assistant Professor of History at the University of Pittsburgh and co-founder of the Shakespeare and Dance Project.

JOHN R. ZIEGLER is Assistant Professor of English at Bronx Community College.