Part of the series Shakespeare in the Theatre , this book examines the work of Phyllida Lloyd who has transformed and revolutionized 21st century Shakespeare by her all female productions. It begins with the Globe Taming of the Shrew in 2003 and then, later, with her Shakespeare Trilogy: her Donmar Theatre productions of Julius Caesar (2012), Henry IV (2014) and The Tempest (2016). While critical response to The Shrew was divided, with some seeing all female approach casting as evocative of ''girls'' boarding school'' Shakespeare, by the time of Lloyd''s 2016 season of Julius Caesar , Henry IV and The Tempest at King''s Cross, most critics appeared to be won over or at least accepting. The book explores the significance of Lloyd''s ongoing working relationships with key performers - Janet McTeer, Meryl Streep, Harriet Walter - while acknowledging the importance of Lloyd''s success with Mamma Mia! in freeing her to pursue high risk theatrical ventures - such as the all female Shakespeare productions - without needing to worry unduly about what the reviewers thought. Schafer illustrates how Lloyd''s ability to hold realism and the non real in creative tension - an ability on display in Mamma Mia! in the all female productions and in her opera productions - is particularly critical when she is working with Shakespeare''s (mostly) anti-illusionistic dramaturgy.

Autorentext
Elizabeth Schafer is Professor of Drama and Theatre Studies at Royal Holloway, University of London. Her publications include MsDirecting Shakespeare: Women Direct Shakespeare, performance histories of The Taming of the Shrew and Twelfth Night, and a biography of theatre manager, Lilian Baylis. She has edited The City Wit and The Northern Lass for the forthcoming Oxford University Press complete edition of Richard Brome's plays. Recent publications include Theatre & Christianity, and Shakespeare and Eco-Performance History: 'The Merry Wives of Windsor'. David Bullen is Teaching Fellow in the Department of Drama, Theatre, and Dance at Royal Holloway, University of London, UK where he has taught since 2013. He is a theatre director, writer, and academic, specializing in the histories of feminist theatre making as well as feminist and queer adaptations of canonical texts. He has published work on feminist theatre making and adaptation in theatre and film in a range of internationally reaching journals and edited collections; he is the author of Greek Tragedy in 21st Century British Theatre (forthcoming).BRIDGET ESCOLME is Senior Lecturer in Drama at Queen Mary, University of London, UK.Farah Karim-Cooper is Head of Higher Education & Research, Shakespeare's Globe and Professor of Shakespeare Studies, King's College London, UK.

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Peter Holland holds the McMeel Family Chair in Shakespeare Studies in the Department of Film, Television and Theatre and is Associate Dean for the Arts at the University of Notre Dame. He was formerly Director of the Shakespeare Institute, Stratford-upon-Avon and is editor of Shakespeare Survey and co-general editor of the Oxford Shakespeare Topics series.

Peter Holland is McMeel Family Chair in Shakespeare Studies at the University of Notre Dame, USA.

Peter Holland is the McMeel Family Chair in Shakespeare Studies and the Associate Dean for the Arts at the University of Notre Dame, USA.

Klappentext

Part of the series Shakespeare in the Theatre, this book examines the work of Phyllida Lloyd who has transformed and revolutionized 21st century Shakespeare by her all female productions.

It begins with the Globe Taming of the Shrew in 2003 and then, later, with her Shakespeare Trilogy: her Donmar Theatre productions of Julius Caesar (2012), Henry IV (2014) and The Tempest (2016). While critical response to The Shrew was divided, with some seeing all female approach casting as evocative of 'girls' boarding school' Shakespeare, by the time of Lloyd's 2016 season of Julius Caesar, Henry IV and The Tempest at King's Cross, most critics appeared to be won over or at least accepting.

The book explores the significance of Lloyd's ongoing working relationships with key performers - Janet McTeer, Meryl Streep, Harriet Walter - while acknowledging the importance of Lloyd's success with Mamma Mia! in freeing her to pursue high risk theatrical ventures - such as the all female Shakespeare productions - without needing to worry unduly about what the reviewers thought. Schafer illustrates how Lloyd's ability to hold realism and the non real in creative tension - an ability on display in Mamma Mia! in the all female productions and in her opera productions - is particularly critical when she is working with Shakespeare's (mostly) anti-illusionistic dramaturgy.

Inhalt

List of Figures
Series Preface
Acknowledgements

Introduction: Phyllida Lloyd, Shakespeare, Diversity and Disturbance
Chapter 1: 1986-1990 - Beginnings
Chapter 2: 1993-1999 - New Stages
Chapter 3: 2002-2011 - Unruly Women
Chapter 4: 2012-2014 - 'Liberty, freedom, and enfranchisement!'
Chapter 5: 2016 - The Donmar Shakespeare Trilogy
Chapter 6: Practical Perspectives
Conclusion: 'O Brave New World'

Notes
References
Index