LEADER 03718nam 22007815 450 001 9910484947903321 005 20250610110105.0 010 $a9783030571498 010 $a3030571491 024 7 $a10.1007/978-3-030-57149-8 035 $a(CKB)4100000011679210 035 $a(DE-He213)978-3-030-57149-8 035 $a(MiAaPQ)EBC6437689 035 $a(Perlego)3481854 035 $a(MiAaPQ)EBC29092919 035 $a(EXLCZ)994100000011679210 100 $a20201223d2020 u| 0 101 0 $aeng 135 $aurnn|008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aShakespeare and Costume in Practice /$fby Bridget Escolme 205 $a1st ed. 2020. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2020. 215 $a1 online resource (XI, 215 p.) 225 1 $aShakespeare in Practice 311 08$a9783030571481 311 08$a3030571483 320 $aIncludes bibliographical references and index. 327 $a1. Chapter One: Introduction -- 2. Chapter Two: Hamlet, Mourning and the Disappearing Costume: Inky Cloaks and Solemn Black -- 3. Chapter Three: Much Ado About Nothing, Restorative Nostalgia and the Costume Drama: Tires and Rebatoes, Corsets and Lace -- 4. Chapter Four: The Post-Colonial Tempest: Costume and Race -- 5. Chapter Five: Conclusion: Practitioner Interviews. 330 $aWhat is the role of costume in Shakespeare production? Shakespeare and Costume in Practiceargues that costume design choices are central not only to the creation of period setting and the actor's work on character, but to the cultural, political, and psychological meanings that the theatre makes of Shakespeare. The book explores questions about what the first Hamlet looked like in his mourning cloak; how costumes for a Shakespeare comedy can reflect or critique the collective nostalgias a culture has for its past; how costume and casting work together to ask new questions about Shakespeare and race. Using production case studies of Hamlet, Much Ado About Nothing, and The Tempest, the book demonstrates that costume design can be a site of experimentation, playfulness, and transgression in the theatre - and that it can provoke audiences to think again about what power, race, and gender look like on the Shakespearean stage. 410 0$aShakespeare in Practice 606 $aEuropean literature$yRenaissance, 1450-1600 606 $aTheater$xProduction and direction 606 $aTheater$xHistory 606 $aCultural industries 606 $aTheater 606 $aLiterature$xHistory and criticism 606 $aStage management 606 $aEarly Modern and Renaissance Literature 606 $aTheatre Direction and Production 606 $aTheatre History 606 $aTheatre Industry 606 $aLiterary History 606 $aTechnology and Stagecraft 615 0$aEuropean literature 615 0$aTheater$xProduction and direction. 615 0$aTheater$xHistory. 615 0$aCultural industries. 615 0$aTheater. 615 0$aLiterature$xHistory and criticism. 615 0$aStage management. 615 14$aEarly Modern and Renaissance Literature. 615 24$aTheatre Direction and Production. 615 24$aTheatre History. 615 24$aTheatre Industry. 615 24$aLiterary History. 615 24$aTechnology and Stagecraft. 676 $a822.33 700 $aEscolme$b Bridget$f1964-$0948747 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910484947903321 996 $aShakespeare and costume in practice$92845345 997 $aUNINA