Details

1. Introduction.- 2. Being There.- 3. The Broadcast Stage.- 4. Mediated Performance.- 5. Born-Digital Theatre.- 6. Conclusion.- 7. In Practice - Interviews with Two Practitioners. 

<p><b>Erin Sullivan</b> is Reader in Shakespeare at the Shakespeare Institute, University of Birmingham, UK. She is co-editor of<i> Lockdown Shakespeare: New Evolutions in Performance and Adaptation</i> (2022) and author of <i>Beyond Melancholy: Sadness and Selfhood in Renaissance England</i> (2016). Her research focuses on the emotional force of Shakespeare’s works, both in his own time and today.&nbsp; &nbsp;</p>

<p><i>Shakespeare and Digital Performance in Practice </i>explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry. Through close analysis of dozens of productions, both high-profile and lesser known, it examines the rise of live broadcasting and recording in the theatre, the growing use of live video feeds and dynamic projections on the mainstream stage, and experiments in born-digital theatre-making, including social media, virtual reality, and video-conferencing adaptations. In doing so, it argues that technologically adventurous performances of Shakespeare allow performers and audiences to test what they believe theatre to be, as well as to reflect on what it means to be present—with a work of art, with others, with oneself—in an increasingly online world.</p><p></p><p><b>Erin Sullivan</b> is Reader in Shakespeare at the Shakespeare Institute,University of Birmingham, UK. She is co-editor of <i>Lockdown Shakespeare: New Evolutions in Performance and Adaptation </i>(2022) and author of <i>Beyond Melancholy: Sadness and Selfhood in Renaissance England</i> (2016). Her research focuses on the emotional force of Shakespeare’s works, both in his own time and today.&nbsp; &nbsp;</p><br><p></p>

Analyses renowned and lesser-known Shakespearean productions from the last decade Theorizes how experiences of presence, liveness, immersion, and interactivity work in digital performance Surveys cultural, technological, and historical trends that have shaped digital Shakespearean performance

"​Lucid and elegant, and generously illustrated, Erin Sullivan’s <i>Shakespeare and Digital Performance in Practice</i> offers analysis of a myriad of digital productions, all of which are rigorously contextualised, both historically and theoretically. Ranging from big budget, internationally-acclaimed productions to low-fi community and participatory events, the book charts not just (pandemic-hurried) developments in digital Shakespeare, but also how this practice of spectatorship powerfully mediates contemporary existence.” (Dr Rob Conkie, Independent Scholar, Melbourne, Australia)<div><br></div><div>“Erin Sullivan has done us all a huge favour. In this smart, accessible and ground-breaking book, she has clearly and acutely described the multiple dynamics of Shakespeare in digital performance. This is essential reading for anyone who cares about the rapidly shifting present – and the virtual futures – of Shakespearean performance.” (Paul Prescott, Professor of English and Theatre, University of California, USA)<br></div><div><br></div>