dc.contributor.author | Simari, A | en_US |
dc.date.accessioned | 2020-09-23T15:04:38Z | |
dc.date.issued | 2019-07-01 | en_US |
dc.identifier.issn | 0184-7678 | en_US |
dc.identifier.uri | https://qmro.qmul.ac.uk/xmlui/handle/123456789/67186 | |
dc.description.abstract | According to Jan Pappelbaum, what fascinated him and Thomas Ostermeier about ‘reconstructed’ Globe Theatres is that ‘[i]t becomes impossible to ignore the presence of the audience; actors are particularly exposed and entirely at the mercy of the spectators’. This article investigates the spatial politics that emerge from/within the ‘quasi-recon-structed’ Globe for Ostermeier’s production of Richard III. Examining a 2017 performance of the play at London’s Barbican Theatre, I consider how audience interaction (and the potential for theatrical failure in that interaction, specifically through performative silence) becomes the site of political resistance in the context of theatrical performance. | en_US |
dc.format.extent | 125 - 136 | en_US |
dc.relation.ispartof | Cahiers Elisabethains | en_US |
dc.title | Performing silence as political resistance: audience interaction and spatial politics in thomas ostermeier’s richard III | en_US |
dc.type | Article | |
dc.identifier.doi | 10.1177/0184767819837720 | en_US |
pubs.issue | 1 | en_US |
pubs.notes | Not known | en_US |
pubs.publication-status | Published | en_US |
pubs.volume | 99 | en_US |
rioxxterms.funder | Default funder | en_US |
rioxxterms.identifier.project | Default project | en_US |