LEADER 02054oam 2200265z- 450 001 9910163103403321 005 20200420162339.0 010 $a88-7470-554-9 035 $a(CKB)3710000001045712 035 $a(BIP)059001196 035 $a(EXLCZ)993710000001045712 100 $a20190224c2017uuuu -u- - 101 0 $aita 200 10$aShakespeare off-scene/Shakespeare un-seen $ele scene raccontate nell'iconografia shakespeariana : atti del Convegno di studi Shakespeare off-scene/Shakespeare un-seen : visualizing un-staged events in iconography, adaptations, productions, Trento, 29-30 ottobre 2015 /$fa cura di Sandra Pietrini e Valeria Tirabasso 210 $aBari $cEdizioni di Pagina$d2016 215 $a1 online resource (viii, 158 p.) $cill 311 $a88-7470-547-6 330 8 $aI drammi di Shakespeare hanno ispirato innumerevoli raffigurazioni, molto diverse fra loro e talvolta bizzarre. Allinterno di questo vasto e variegato immaginario figurativo, assumono un particolare rilievo le rappresentazioni di scene o azioni soltanto raccontate, evocate o in qualche modo suggerite dal testo. La morte di Ofelia o lassassinio del vecchio re Amleto sono fra gli esempi piu? celebri di questa tipologia iconografica, che estende enormemente limmaginario shakespeariano e spesso suggerisce nuove letture interpretative dei personaggi e delle loro storie. Si possono includere fra gli off-scenes le immagini che offrono una raffigurazione letterale delle molte metafore shakespeariane, nelle quali gli artisti attingono ai testi drammatici come a una miniera di concetti e massime universali, ma anche le scene che mostrano la vita pregressa dei personaggi a partire da una semplice allusione contenuta nel testo, mostrando per esempio il gioco infantile del piccolo Amleto a cavalluccio del vecchio buffone di corte Yorick. 610 $aEnglish literature 700 $aPietrini$b Sandra$0553970 702 $aTirabasso$b Valeria 906 $aBOOK 912 $a9910163103403321 996 $aShakespeare off-scene$94171983 997 $aUNINA LEADER 03683nam 22005775 450 001 9910483193603321 005 20251030102209.0 010 $a9781137404824 010 $a1137404825 024 7 $a10.1057/978-1-137-40482-4 035 $a(CKB)4100000007761900 035 $a(MiAaPQ)EBC5750037 035 $a(DE-He213)978-1-137-40482-4 035 $a(Perlego)3487125 035 $a(EXLCZ)994100000007761900 100 $a20190131d2019 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aReenacting Shakespeare in the Shakespeare Aftermath $eThe Intermedial Turn and Turn to Embodiment /$fby Thomas Cartelli 205 $a1st ed. 2019. 210 1$aNew York :$cPalgrave Macmillan US :$cImprint: Palgrave Macmillan,$d2019. 215 $a1 online resource (349 pages) 225 1 $aReproducing Shakespeare,$x2730-9312 311 08$a9781137404817 311 08$a1137404817 327 $aChapter 1: Reenacting Shakespeare in the Shakespeare Aftermath -- Chapter 2: The Intermedial Turn & Turn to Embodiment -- Chapter 3: Ghosts of History: Edward Bond?s Lear & Bingo, Heiner Müller?s Hamletmachine -- Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus, Forget Hamlet & Haider -- Chapter 5: Peter Greenaway?s Montage of Attractions: Prospero?s Books and the Paratextual Imagination -- Chapter 6: Channeling the Ghosts: the Wooster Group?s Remediation of the 1964 Electronovision Hamlet -- Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove?s Roman Tragedies & the Problem of Spectatorship -- Chapter 8: Disassembly, Meaning-Making & Montage in Annie Dorsen?s A Piece of Work and Péter Lichter and Bori Máté?s The Rub -- Chapter 9: CODA: Mixed Reality: the Virtual Future & Returnto Embodiment. 330 $aIn the Shakespeare aftermath?where all things Shakespearean are available for reassembly and reenactment?experimental transactions with Shakespeare become consequential events in their own right, informed by technologies of performance and display that defy conventional staging and filmic practices. Reenactment signifies here both an undoing and a redoing, above all a doing differently of what otherwise continues to be enacted as the same. Rooted in the modernist avant-garde, this revisionary approach to models of the past is advanced by theater artists and filmmakers whose number includes Romeo Castellucci, Annie Dorsen, Peter Greenaway, Thomas Ostermeier, Ivo van Hove, and New York?s Wooster Group, among others. Although the intermedial turn taken by such artists heralds a virtual future, this book demonstrates that embodiment?in more diverse forms than ever before?continues to exert expressive force in Shakespearean reproduction?s turning world. 410 0$aReproducing Shakespeare,$x2730-9312 606 $aEuropean literature$yRenaissance, 1450-1600 606 $aDrama 606 $aPerforming arts 606 $aTheater 606 $aEarly Modern and Renaissance Literature 606 $aDrama 606 $aTheatre and Performance Arts 615 0$aEuropean literature 615 0$aDrama. 615 0$aPerforming arts. 615 0$aTheater. 615 14$aEarly Modern and Renaissance Literature. 615 24$aDrama. 615 24$aTheatre and Performance Arts. 676 $a822.33 700 $aCartelli$b Thomas$4aut$4http://id.loc.gov/vocabulary/relators/aut$0542614 906 $aBOOK 912 $a9910483193603321 996 $aReenacting Shakespeare in the Shakespeare Aftermath$92849113 997 $aUNINA