Rematerializing Shakespeare

Transcription

1 Rematerializing Shakespeare

2 Also by the editors Bryan Reynolds TRANSVERSAL ENTERPRISES IN THE DRAMA OF SHAKESPEARE AND HIS CONTEMPORARIES: Fugitive Explorations (London: Palgrave Macmillan, forthcoming) PERFORMING TRANSVERSALLY: Reimagining Shakespeare and the Critical Future (New York: Palgrave Macmillan, 2003) BECOMING CRIMINAL: Transversal Performance and Cultural Dissidence in Early Modern England (Baltimore: John Hopkins University Press, 2002) SHAKESPEARE WITHOUT CLASS: Misappropriations of Cultural Capital, co-editor with Donald Hedrick (New York: Palgrave Macmillan, 2000) William N. West THEATRES AND ENCYCLOPEDIAS IN EARLY MODERN EUROPE (Cambridge University Press, 2002)

3 Rem a terializing Shakespeare Authority and Representation on the Early Modern English Stage Edited by Bryan Reynolds & William N. West

4 * Introduction, editorial matter and selection Bryan Reynolds & William N. West All chapters Palgrave Macmillan 2005 Softcover reprint of the hardcover 1st edition All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act First published in 2005 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd. Macmillan is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN ISBN (ebook) DOI / This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rematerializing Shakespeare : authority and representation on the early modern English stage I edited by Bryan Reynolds and William N. West. p.cm. Includes bibliographical references and index. 1. Shakespeare, William, Stage history- To Shakespeare, William, Stage history- England. 3. Theater England - History- 16th century. 4. Theater- England- History- 17th century. 5. Theater audiences in literature. I. Reynolds, Bryan (Bryan Randolph). II. West, William N. PR3095.R '3-dc OS Transferred to digital printing in 2006.

5 For Robert Weimann Because of your courageous example, your manifold inspiration, and your well-deserved authority Thank you

6 Contents List of Illustrations Acknowledgments Notes on Contributors Introduction Shakespearean mergences: Back from Materialisms to Transversalisms and Beyond Bryan Reynolds & William N. West Part I The Form and Pressure of the Time: Popular and Unpopular Traditions 1 'Strike All that Look Upon With Marvel': Theatrical and Theological Wonder in The Winter's Tale Huston Diehl 2 Performance and Urban Space in Shakespeare's Rome, or 'S.P.Q.L.' D. f. Hopkins 3 Shakespeare's Little Boys: Theatrical Apprenticeship and the Construction of Childhood Catherine Belsey Part II What's the Matter? Revisions and Reversions in Pen and Voice 4 Rematerializing Shakespeare's Intertheatricality: The Occidental/Oriental Halimpsest Jonathan Gil Harris S The Politics of Shakespeare's Prose Douglas Bruster 6 Mercutio's Bad Language William N. West 7 Nanti Everything Terence Hawkes ix X xi vii

7 viii Contents 8 Authority and the Early Modern Theatre: Representing Robert Weimann John Drakakis Part III Creatures Sitting at a Play: The Authority and Representation of Audiences 9 Homo Clausus at the Theatre David Hillman Figuring the Consumer for Early Modern Drama 186 Kathleen McLuskie 11 The Delusion of Critique: Subjunctive Space, Transversality, and the Conceit of Deceit in Hamlet 207 Anthony Kubiak & Bryan Reynolds Index 226

8 List of Illustrations 1 Sanders Portrait. Digital Image Art Gallery of Ontario. 2 2 Kevin Chadwick, 'Shakespeare Dude,' used by the World Shakespeare Congress, the Shakespeare Association of America, and the Folger Shakespeare Library. Reproduced by permission of Chadwick Design Inc. 3 3 'Tattoo Bill,' by Mathew McFarren. Poster from The Colorado Shakespeare Festival, Reproduced by courtesy of The Colorado Shakespeare Festival and Mathew McFarren. 4 4 'Flying Will,' by Mathew McFarren. Poster from The Colorado Shakespeare Festival, Reproduced by courtesy of The Colorado Shakespeare Festival and Mathew McFarren. 5 5 Jacket design by Julia Kushnirsky, with 'Shakespeare Dude' image by Kevin Chadwick for Bryan Reynolds, Perfonning Transversally: Reimagining Shakespeare and the Critical Future (New York: Palgrave Macmillan, 2003). Reproduced by permission of Palgrave Macmillan and Chadwick Design Inc Tomb of Jane, Lady Waller, 1630s, Bath Abbey (detail). Photo by Andrew Belsey Marcus Gheeraerts, Barbara, Lady Sidney and her Children, Reproduced by kind permission of Viscount De L'Isle, from his private collection at Penshurst Place. 65 ix

9 Acknowledgments Along with this book's dedicatee, Maja Weimann is an inspiration for her generosity, kindness, and wisdom. Bryan Reynolds is grateful to Peter Eversmann, Amy Cook, Glenn Odom, Janna Segal, and especially Allison Crilly for their valuable feedback on his and Anthony Kubiak's contribution to this book. He is also happy to have been pampered along by Greg Ungar, Thomas Augst, Cipriana Petre, Ayanna Thompson, Henry Turner, Jonathan Gil Harris, Janelle Reinelt, Robert Cohen, and Cameron Harvey when trying to contend with way too many commitments. He was fortunate to be doing some pampering himself, since it was during the process of putting this book together that his lovely daughter Sky joined him and his wife Kris in this wacky world. It is Kris that makes it all so wonderful. Will West also thanks his colleagues in early modern studies at the University of Colorado, Chris Braider, Katherine Eggert, and Valerie Forman, honorary Renaissance guy Mark Winokur for keeping the intellectual pressure, and administrative heroes Katherine Eggert (again), John Stevenson, and Doug Burger for taking the committee pressure off. But above all Will is grateful to Amy Ebert, who arrived almost at the beginning of this book and has stayed on despite late nights until its end. Reynolds and West are both grateful to Mell McDonnell and Dick Devin of The Colorado Shakespeare Festival, who generously allowed us to use their posters. They are grateful to Allison Crilly for her tireless editorial wherewithal and persevering laughter. Finally, they would like to thank Paula Kennedy, their editor, and Helen Craine, Paula's assistant, for their unrelenting enthusiasm for this project and for their hard work in bringing it to fruition. X

10 Notes on Contributors Catherine Belsey is Professor of English and Chair of the Centre for Critical and Cultural Theory at Cardiff University, Wales. She is the author of Critical Practice (1980), The Subject of Tragedy: Identity and Difference in Renaissance Drama (1985), Desire: Love Stories in Western Civilization (1994) and Shakespeare and the Loss of Eden (1999). Douglas Bruster teaches Renaissance literature, film, and modern drama at the University of Texas at Austin. He is the author of Drama and the Market in the Age of Shakespeare (1992), Quoting Shakespeare: Form and Culture in Early Modem Drama (2000), and most recently Shakespeare and the Question of Culture: Early Modern Literature and the Cultural Tum (2002). Huston Diehl is Professor of English at the University of Iowa. Her most recent book is Staging Reform, Reforming the Stage: Protestantism and Popular Theater in Early Modern England (1997). She has published extensively on Shakespeare and Renaissance drama, Protestant art and aesthetics, and the English emblem book. She is currently writing a book on comedy and the reformation of early modern English culture. John Drakakis is Professor of English Studies at the University of Stirling in Scotland. He is the editor of two editions of Alternative Shakespeares (1985, 2nd edn, 2002), of Shakespearean Tragedy (1992) and the Palgrave Macmillan New Casebook Antony and Cleopatra. He has written many articles on Shakespeare, Renaissance Drama, and critical theory, and is currently completing the Arden 3 edition of The Merchant of Venice. Jonathan Gil Harris is Professor of English at The George Washington University, where he teaches Shakespeare and critical theory. He is the author of Foreign Bodies and the Body Politic: Discourses of Social Pathology in Early Modern England (1998), and Sick Economies: Drama, Mercantilism and Disease in Shakespeare's England (2004), as well as the co-editor (with Natasha Korda) of Staged Properties in Early Modem English Drama. He is currently at work on a new project, provisionally entitled Unbecoming Shakespeare. Terence Hawkes is Emeritus Professor of English at Cardiff University. He is the author of a number of books on Shakespeare, including That Shakespearian Rag (1986), Meaning by Shakespeare (1992) and Shakespeare in the Present (2002). He is also General Editor of the Accents on Shakespeare series published by Routledge. David Hillman is a Fellow of King's College Cambridge as well as a Lecturer in English at the University of Cambridge. He has trained as a child xi

11 xii Notes on Contributors psychotherapist at the Tavistock. He is editor of Robert Weimann's Authority and Representation in Early Modem Discourse (1996) and co-editor (with Carla Mazzio) of The Body in Parts: Fantasies of Corporeality in Early Modem Europe (1997). He is completing a book entitled Shakespeare's Entrails: Solitude, Scepticism, and the Interior of the Early Modern Body and editing (with Adam Phillips) The Book of Interruptions. D. J. Hopkins is Assistant professor at San Diego State University and before then was Mellon Post-Doctoral Fellow in Performing Arts and English at Washington University in St. Louis. His publications have appeared in Modern Drama, Theatre Topics, Theatre Survey, and in several collections including Shakespeare After Mass Media. Hopkins holds both a PhD and an MFA from the University of California, San Diego. His current book project theorizes the relationship between performance and representation in the urban spaces of postmedieval London. Anthony Kubiak is Professor of Drama at the University of California, Irvine. He is the author of Stages of Terror: Terrorism, Ideology, and Coercion as Theatre History (1991) and Agitated States: Performance in the American Theater of Cruelty (2002). He has published articles in Theatre Journal, TDR, Modem Drama, Performance Research, and numerous other publications. He has contributed to numerous collections as well, including Psychoanalysis and Performance (2001), Drama and the Classical Heritage (1992), and The World of Samuel Beckett (1991). Kathleen McLuskie is Director of the Shakespeare Institute in Startford-on Avon. She is currently at work on a book to be entitled Commercialization of Early Modern Theatre and is the author of Renaissance Dramatists (1989) and Shakespeare and Modern Theatre (2001, with Michael Bristol). She has edited Plays on Women (1999) with David Bevington. Bryan Reynolds is Professor and Head of Doctoral Studies in Drama at the University of California, Irvine. He is the author of Transversal Enterprises in the Drama of Shakespeare and his Contemporaries: Fugitive Explorations (Palgrave Macmillan, 2006), Performing Transversally: Reimagining Shakespeare and the Critical Future (Palgrave Macmillan, 2003), Becoming Criminal: Transversal Performance and Cultural Dissidence in Early Modern England (2002), and co-editor with Donald Hedrick of Shakespeare Without Class: Misappropriations of Cultural Capital (2000). Reynolds is also co-general Editor, with Elaine Aston, of a new book series in theatre and performance studies, Performance Interventions, from Palgrave Macmillan. William N. West is Associate Professor of English at Northwestern University. He is the author of Theatres and Encyclopedias in Early Modern Europe (Cambridge University Press, 2003) and most recently of articles on early modern anatomy and poetry, significance in architecture, and on the groundlings in Shakespeare's theatre. He is writing a book called Understanding and Confusion in the Elizabethan Theaters.