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Viral Shakespeare
- Performance in the Time of Pandemic
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- 11 December 2021
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- 20 January 2022
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Chapter 2 - Dominic Dromgoole’s The Tempest (2016): Labour, Technology and the Gender of Theatrical Magic
- from Part I - Candlelight and Architecture at the Sam Wanamaker Playhouse
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 66-84
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Chapter 6 - Offstage Dynamics and the Virtual Public Sphere in Cheek by Jowl’s Live Stream of Measure for Measure (2015)
- from Part III - ‘Invisible’ Technology and ‘Liveness’ in Digital Theatre Broadcasting
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 191-206
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How to Read This Book
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp xv-xvi
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Index
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 236-242
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Figures
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp vii-ix
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Introduction
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 1-32
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Copyright page
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp iv-iv
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Chapter 3 - Stanislavski in the Closet: Joe Hill-Gibbins’ Edward II (National Theatre, 2013)
- from Part II - Digital Technologies and Early Modern Drama at the National Theatre and the RSC
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 89-107
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Acknowledgements
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp xi-xiv
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Part II - Digital Technologies and Early Modern Drama at the National Theatre and the RSC
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 85-148
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Contents
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp v-vi
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Tables
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp x-x
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Chapter 4 - ‘Tech-Enabled’ Theatre at the RSC: Digital Performance and Gregory Doran’s Tempest (RSC, 2016)
- from Part II - Digital Technologies and Early Modern Drama at the National Theatre and the RSC
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 108-148
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Chapter 5 - Hamlet in Parts: Robin Lough’s RSC Live Cinema Broadcast of Simon Godwin’s Hamlet (8 June 2016)
- from Part III - ‘Invisible’ Technology and ‘Liveness’ in Digital Theatre Broadcasting
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 157-190
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Part I - Candlelight and Architecture at the Sam Wanamaker Playhouse
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 33-84
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Part III - ‘Invisible’ Technology and ‘Liveness’ in Digital Theatre Broadcasting
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 149-206
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Bibliography
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 219-235
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Concluding Most Obscenely: Offstage Technophelias
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 207-218
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Chapter 1 - Dominic Dromgoole’s The Changeling (2015): Social Division and Anamorphic Vision
- from Part I - Candlelight and Architecture at the Sam Wanamaker Playhouse
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- Shakespeare, Spectatorship and the Technologies of Performance
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- 10 April 2020
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- 30 April 2020, pp 51-65
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