04208nam a22004815i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001400153072001600167072002300183072001500206100007300221245016500294250001800459264007900477300004300556336002600599337002600625338003600651347002400687490003600711505079300747520168601540650004903226650001303275650004303288650001103331650004503342650005403387650002403441650001103465710003403476773002603510776003603536776003603572776003603608830003603644856004603680978-3-031-65510-4DE-He21320251030112943.0cr nn 008mamaa240907s2024    sz |    s    |||| 0|eng d  a97830316551047 a10.1007/978-3-031-65510-42doi 4aPN715-749 7aDSB2bicssc 7aLIT0240002bisacsh 7aDSB2thema1 aKo, Yu Jin.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut10aShakespeare's Original Stage Conditions and their Afterlives across the Globeh[electronic resource] :bFrom the Wooden O to the Yards of Seoul /cby Yu Jin Ko.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXI, 270 p. 13 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aGlobal Shakespeares,x2947-891X0 aIntroduction. -Chapter 1: .-A Little Touch of Harry in the Light: Henry V at the New Globe. -Chapter 2:. -Consent and Animation in A Midsummer Night’s Dream: The Korean Madang as a New Green World. -Chapter 3: -- From the Wooden O to Tim Blake Nelson’s O: The Boy Actor’s voice and the Performance of Gender and Race. -Chapter 4: -- Dance and Deception in Othello: Desdemona’s ‘Turn’ in Omkara and Huapango. -Chapter 5: .-Observing Shakespeare's Lighting Effects in Romeo and Juliet. -Chapter 6: .-The Winter's Tale and Privileged Spectatorship: At the Globe and in Tokyo. -Chapter 7: .-Authenticity through Intermedial Liveness: Throne of Blood and The King and the Clown. -Chapter 8: .-Youth and Authenticity in Hamlet: Burbage in his 30s and a Sexagenarian Hamlet in Seoul.  aThis book brings together two separate fields by combining a study of Shakespeare's original stage conditions with an exploration of his plays in performance across the globe. The book contributes new insights into how early-modern stage conditions shaped the writing, production, and reception of Shakespeare's plays, but takes the further step of examining how original stage conditions re-emerge, not only in Globe replicas like the London Globe, but in unexpected and sometimes unconscious reconfigurations in adaptations and productions from around the world: film versions of Othello from Mexico to India that take dancing cues and anxieties about dance from the play and centralize dance; Korean adaptations for the madang (or yard) that reimagine Shakespeare's theatrical spaces and their relationships to audiences; Noh re-imaginings on film and onstage that foreground the theatrical; a teen film remake of Othello that raises questions about how blackness is figured today and on Shakespeare's stage, among others. By studying original stage conditions and their global afterlives, the book illuminates how global productions negotiate historical and cultural differences and thereby, paradoxically, engage with the cultural specificities of the present. Yu Jin Ko is Professor of English at Wellesley College, USA. His research centers on Shakespeare, with a focus on performance, and a more recent emphasis on Shakespeare in production across the globe, especially in the East. Previous publications include Mutability and Division on Shakespeare’s Stage (2004), and the co-edited collection Shakespeare’s Sense of Character: On the Page and From the Stage (2012). 0aEuropean literaturexRenaissance, 1450-1600. 0aTheater. 0aAdaptation (Literary, artistic, etc.). 0aDrama.14aEarly Modern and Renaissance Literature.24aGlobal and International Theatre and Performance.24aAdaptation Studies.24aDrama.2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303165509808iPrinted edition:z978303165511108iPrinted edition:z9783031655128 0aGlobal Shakespeares,x2947-891X40uhttps://doi.org/10.1007/978-3-031-65510-4