Renaissance Performance Practices on Modern Stages.

摘要

The original-practices movement as a whole claims its authority from early modern theatrical conditions. Some practitioners claim Shakespeare in many ways as their co-creator; asserting that they perform the plays as Shakespeare intended. Other companies recognize the impossibility of an authorial text, and for them authority shifts to the Renaissance theatre apparatus as a whole. But the reality is that all of these companies necessarily produce modern theatre influenced by the 400 years since Shakespeare. Likewise, audiences do not come to these productions and forget the intervening centuries.;This dissertation questions the new tradition created by using early modern performance practices, asking how original-practices theatre is situated and arguing that though the desire to rediscover the past fueled the movement, the productions actually presented are in negotiation with modernity. The dissertation begins by looking at the rhetoric surrounding the original-practices movement, then at the physical aspects of early modern performance recreated for modern stages and the desire for material authenticity. This project also explores the ways in which race and gender play key roles within Shakespearean texts presented on stage, and argues that while gender occasionally has attention called to it, race is nearly always ignored to the point of whitewashing. I argue that because these companies insist on the universality of Shakespeare, they need to examine and deal with the racism and sexism inherent within the plays. Finally, this project explores the influence original-practices productions exerts upon audiences, including aspects such as attendees' expectations, architectural spaces, and performance, and argues that together, these elements lead to a far more cohesive and responsive audience than that which is found at traditional theatre performances. This interactivity and group mentality can lead to thrilling theatre, but can also pose dangers in the form of positive responses to xenophobic, racist, or misogynist elements within the texts, acting as early-modern audiences did and reifying those negative stereotypes and prejudices.;While original-practices theatre includes the danger of being something only of historical interest, it also presents opportunities for exciting, progressive theatre that reaches audiences who do not typically go to see Shakespeare or other performances.