- Format: Hardcover
- ISBN: 978-0-7190-8252-8
- Pages: 328
- Publisher: Manchester University Press
- Price: £85.00
- Published Date: June 2013
- BIC Category: Literary studies: plays & playwrights, Early Modern Literature, Literature, Literary studies: c 1600 to c 1800, English, LITERARY CRITICISM / European / English, Irish, Scottish, Welsh, LITERARY CRITICISM / Shakespeare, Literature & literary studies / Shakespeare studies & criticism
- Series: Shakespeare in Performance
Michael D. Friedman's second edition of this stage history of Shakespeare's Titus Andronicus adds an examination of twelve major theatrical productions and one film that appeared in the years 1989-2009. Friedman identifies four lines of descent in the recent performance history of the play: the stylised, realistic, darkly comic, and political approaches, which culminate in Julie Taymor's harrowing film Titus (1999). Aspects of Taymor's eclectic vision of ancient Rome under the grip of modern fascism were copied by several subsequent productions, making Titus the most characteristic, as well as the most influential, contemporary performance of the play.
Friedman's work extends Alan Dessen's original study to include Taymor's film, along with chapters devoted to the efforts of international directors including Gregory Doran, Silviu Purcarete, and Yukio Ninagawa. This expanded volume will prove essential to students of Shakespeare's play, along with scholars interested in the tragedy's gruesome yet occasionally comical performance history.
I From Edward Ravenscroft to Peter Brook
II To stylise or not to stylise
III Trusting the script: Deborah Warner at the Swan
IV Problems then and now
V The sense of an ending
Conclusion: What price Titus?
I Jeannette Lambermont, Daniel Mesguich, and Michael Maggio
II Peter Stein and Silviu Purcarete
III Gregory Doran
IV Julie Taymor: 1994 and 1999
V Yukio Ninagawa, Bill Alexander, Gale Edwards, Richard Rose, and Lucy Bailey
Epilogue: Looking toward the future
Appendix: Major actors and staff for productions discussed in this volume
Michael D. Friedman is a Professor of English in the McDade Center for Literary and Performing Arts at the University of Scranton