Lockdown Shakespeare: New Evolutions in Performance and Adaptation

Cover\nContents\nList of Illustrations\nNotes on Contributors\nAcknowledgements\nNote on the Text\nGlossary\nIntroduction: Cultural Cartography of the Digital Lockdown Landscape Gemma Kate Allred and Benjamin Broadribb\nPart One: Analyses\n1 The Screen Language of Lockdown: Connection and Choice in Split-Screen Performance John Wyver\n2 Lockdown Shakespeare and the Metamodern Sensibility Benjamin Broadribb\n3 Notions of Liveness in Lockdown Performance Gemma Kate Allred\n4 Creation Theatre and Big Telly’s The Tempest: Digital Theatre and the Performing Audience Pascale Aebischer and Rachael Nicholas\n5 Immersion in a Time of Distraction: ‘The Under Presents: Tempest’ Erin Sullivan\n6 What You Will in the Time of Covid-19: Exploring the Digital Arts, Race and Flexible Resistance David Sterling Brown and Ben Crystal\nPart Two: Case Studies\n7 ‘Shakespeare for everyone’ The Show Must Go Online in conversation with\rGemma Kate Allred and Benjamin Broadribb\n8 Ricardo II: una producción bilingüe de Merced Shakespearefest William Wolfgang and Erin Sullivan\n9 ‘Your play needs no excuse’ CtrlAltRepeat in conversation with Gemma Kate\rAllred and Benjamin Broadribb\n10 ‘Are we all met?’: Responding to Shakespeare’s Canon through Online Community Performance Jennifer Moss Waghorn, Katrin Bauer, Sarah\rHodgson, Diane Lowman, Kathryn Twigg and\rMartin Wiggins\n11 ‘Present fears are less than horrible imaginings’ Big Telly Theatre Company in conversation with\rGemma Kate Allred and Benjamin Broadribb\n12 Teaching Shakespearean Performance in Lockdown Andrew James Hartley, Sarah Hatchuel and Yu\rUmemiya in conversation with Erin Sullivan\nPart Three\nLockdown Digital Arts: An Extended Year in Review Gemma Kate Allred, Benjamin Broadribb and\rErin Sullivan\n	Spring\n	Summer\n	Autumn\n	Winter/Spring\nConclusion: Shakespeare after Lockdown Erin Sullivan\nIndex