MARC Record from marc_columbia

LEADER: 03293cam a2200433 a 4500
001 6859329
005 20221122053803.0
008 080214t20082008nyua b 001 0 eng
010 $a 2008006436
020 $a9781433101632 (hardcover : alk. paper)
020 $a1433101637 (hardcover : alk. paper)
024 $a40015707006
035 $a(OCoLC)192109708
035 $a(OCoLC)ocn192109708
035 $a(NNC)6859329
035 $a6859329
040 $aDLC$cDLC$dBTCTA$dYDXCP$dBAKER$dYDX$dOrLoB-B
043 $ae-uk-en
050 00 $aPR3106$b.W66 2008
082 00 $a792.9/5$222
100 1 $aWoo, Celestine.$0http://id.loc.gov/authorities/names/n2008011152
245 10 $aRomantic actors and bardolatry :$bperforming Shakespeare from Garrick to Kean /$cCelestine Woo.
260 $aNew York :$bPeter Lang,$c[2008], ©2008.
300 $axiii, 209 pages :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aStudies in Shakespeare ;$vv. 16
504 $aIncludes bibliographical references and index.
505 00 $gIntroduction.$tBardolatry and "Romantic" Actors -- $gCh. 1.$tDavid Garrick: Commodifying Shakespeare -- $gCh. 2.$tJohn Philip Kemble: Consecrating Shakespeare -- $gCh. 3.$tSarah Siddons: Gendering Shakespeare -- $gCh. 4.$tEdmund Kean: Ironic Icon, Transgressive Tabula Rasa.
520 1 $a""Bardolatry," that whimsical term referring to Shakespeare's rise to canonical status as well as to his worshippers' adulation, solidified within the theatrical discourses of the eighteenth century and the British Romantic era. Celestine Woo examines the era's four most celebrated Shakespeare performers in London - David Garrick, John Philip Kemble, Sarah Siddons, and Edmund Kean - arguing that they broadened and altered the boundaries of Shakespearean discourse in specific ways, offering and modeling novel paradigms by which to apprehend Shakespeare, and thus contributing to the growth of bardolatry as a discursive phenomenon. Using Pierre Bourdieu as a model, Woo traces the development of Shakespearean discourse as a field of cultural production, shaped by these actors. By examining their disparate approaches to performing Shakespeare, she reveals that Shakespeare as an icon became commodified, politicized, gendered, and increasingly appropriated within literary and dramatic discourse as a result of the influences of these four performers. Her analysis deepens our understanding of the processes by which Shakespeare was institutionalized as a figure representing national character, human nature, and the breadth of human experience."--BOOK JACKET.
600 10 $aShakespeare, William,$d1564-1616$xStage history$zEngland$zLondon.
600 10 $aShakespeare, William,$d1564-1616$xStage history$y1625-1800.$0http://id.loc.gov/authorities/subjects/sh85121043
600 10 $aShakespeare, William,$d1564-1616$xStage history$y1800-1950.$0http://id.loc.gov/authorities/subjects/sh85121044
600 10 $aGarrick, David,$d1717-1779$xPerformances.
600 10 $aKemble, John Philip,$d1757-1823$xPerformances.
600 10 $aSiddons, Sarah,$d1755-1831$xPerformances.
600 10 $aKean, Edmund,$d1787-1833$xPerformances.
830 0 $aStudies in Shakespeare ;$vv. 16.
852 00 $bglx$hPR3106$i.W66 2008