Book contents
- Shakespeare, Technicity, Theatre
- Shakespeare, Technicity, Theatre
- Copyright page
- Contents
- Illustrations
- Acknowledgments
- Chapter 1 Introduction: Theatre, Medium, Technology
- Chapter 2 The Face, the Mask, the Screen: Acting and the Technologies of the Other
- Chapter 3 Shax the App
- Chapter 4 Interactive Remediation: Original Practices
- Chapter 5 Designing the Spectator
- Chapter 6 And Or And Not: Recoding Theatre
- Notes
- Works Cited
- Index
Chapter 2 - The Face, the Mask, the Screen: Acting and the Technologies of the Other
Published online by Cambridge University Press: 22 May 2020
- Shakespeare, Technicity, Theatre
- Shakespeare, Technicity, Theatre
- Copyright page
- Contents
- Illustrations
- Acknowledgments
- Chapter 1 Introduction: Theatre, Medium, Technology
- Chapter 2 The Face, the Mask, the Screen: Acting and the Technologies of the Other
- Chapter 3 Shax the App
- Chapter 4 Interactive Remediation: Original Practices
- Chapter 5 Designing the Spectator
- Chapter 6 And Or And Not: Recoding Theatre
- Notes
- Works Cited
- Index
Summary
Berlin, summer 2009: the opening moments of Hamlet. Lars Eidinger crouches downstage right, projecting the video image of his face on a beaded curtain dividing the upstage banquet table from the downstage thrust dirtbox that forms the principal playing area of Thomas Ostermeier’s production at the Schaubühne (première 2008; see Figure 1). Jan Kott’s Hamlet of “late autumn, 1956, read only newspapers” (“Hamlet of the Mid-Century” 68), but Hamlet today is typically involved in the intermediality of performance, perhaps even the digital remediation of theatre.
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- Shakespeare, Technicity, Theatre , pp. 38 - 67Publisher: Cambridge University PressPrint publication year: 2020