PART 1: INTRODUCTION
Chapter 1: Reenacting Shakespeare in the Shakespeare Aftermath
1.1) Mapping the Terrain
1.2) Points of Departure
1.3) Excess, Exhaustion, Reenactment
1.4) Experiment, Exception, Avant-Garde
1.5) Case Study: Shakespeare through the Lookingglass
Chapter 2: The Intermedial Turn & Turn to Embodiment
2.1) The Intermedial Turn
2.2) The Turn to Embodiment 2.3) Case Study: The Wooster Group Meets the RSC at the Swan
2.4 ) A Brief Postdramatic Postscript
PART 2: GHOSTS OF HISTORY
Chapter 3: Ghosts of History: Edward Bond's Lear & Bingo, Heiner Müller's
Hamletmachine
3.1) Ghosts of a Dead Religion
3.2) The Writing on the Wall
3.3) "Was anything done"? 3.4) "The script has been lost"
Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus,
Forget Hamlet & Haider
4.1) Prelude: Anatomie Titus
4.2 Forgetting Hamlet
4.3) Building a Better Mousetrap
4.4) States of Exception
Chapter 5: Peter Greenaway's Montage of Attractions: Prospero's Books and the
Paratextual Imagination
5.1) Genealogies
5.2) A Montage of Attractions
5.3) Animated Displays
5.4) The Virtual Future
PART 3: GHOSTS OF THE MACHINE
Chapter 6: Channeling the Ghosts: the Wooster Group's Remediation of the 1964
Electronovision Hamlet
6.1) The Tenth Age of Shakespeare
6.2) "The peculiar intensity and nerves of this"
6.3) Channeling the Ghosts
6.4) "The media's the thing"
6.5) "The best in this kind"
Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove's Roman
Tragedies & the Problem of Spectatorship
7.1) The Problem & Politics of Spectacle
7.2) High-Tech Shakespeare
7.3) Van Hove's Mediatized Globe
7.4) The Problem of Spectatorship
7.5) The Return of the Real
Chapter 8: Disassembly, Meaning-Making & Montage in Annie Dorsen's A Piece of Work and Péter Lichter and Bori Máté's The Rub
8.1) Machine Dreams
8.2) Disassembly, Disintegration & Serial Reproduction
8.3) Meanin
About the Author:
Thomas Cartelli is Professor of English & Film Studies at Muhlenberg College, USA. He is author of Marlowe, Shakespeare, and the Economy of Theatrical Experience (1991), Repositioning Shakespeare (1999), and co-author (with Katherine Rowe) of New Wave Shakespeare on Screen (2007). He has also edited The Norton Critical Richard III (2009).
