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OverviewCheek by Jowl, founded by Declan Donnellan and Nick Ormerod in 1981, is one of the world’s most critically acclaimed classical theatre companies. Across seventeen productions of Shakespeare (as well as several by his contemporaries and other European dramatists), Cheek by Jowl’s experiments with text, space, light and bodies have produced bold reinventions of canonical and lesser-explored plays. Despite the pre-eminence of the company, its multiple awards and central place in the European repertory, this is the first substantive study of the company’s body of work. This book situates Cheek by Jowl’s work within the key institutions and traditions that have shaped the company’s development from low-budget beginnings at the Edinburgh Festival to international celebration, while also focusing specifically on the company’s use of Shakespeare to drive forward its practice. Drawing on the company’s work in English, Russian and French, the book uses key productions as case studies to interrogate the company’s unique style and build an argument for the distinctive insights offered by Cheek by Jowl’s approach. The book draws on new interviews with creative and administrative company members from the full span of Cheek by Jowl’s history as well as a full appraisal of the Cheek by Jowl archives, offering the first scholarly overview of the company’s work. Full Product DetailsAuthor: Dr Peter Kirwan (Mary Baldwin University, USA)Publisher: Bloomsbury Publishing PLC Imprint: The Arden Shakespeare Weight: 0.260kg ISBN: 9781474223287ISBN 10: 1474223281 Pages: 232 Publication Date: 19 March 2020 Audience: College/higher education , College/higher education , Tertiary & Higher Education , Tertiary & Higher Education Format: Paperback Publisher's Status: Active Availability: Manufactured on demand  We will order this item for you from a manufactured on demand supplier. Table of ContentsList of illustrations Series Preface Acknowledgements Introduction 1. Shakespeare of Roscommon: Tracing a Cheek by Jowl Production The Winter’s Tale (2016-17) and Lady Betty (1989) 2. Touching the Void: Bodies and Space Macbeth (2009-11) and The Duchess of Malfi (1995-6) 3. ‘If I were a woman’: The All-Male Ensemble Twelfth Night (2003-) and As You Like It (1991-5) 4. Cutting and Cross-Cutting: Filmic Space and the Text Cymbeline (2007) and The Tempest (2011-) 5. Conceptual Rooms: Designing Not-Shakespeare ‘Tis Pity She’s a Whore (2011-14) and Ubu Roi (2013-15) 6. Empathy and Loneliness Much Ado about Nothing (1998) and Measure for Measure (2013-) Conclusion: Evolutions Appendix Notes References IndexReviewsKirwan draws on a rich range of sources in his exploration of the company's work, augmenting his performance analyses with archival research, interviews, and, in the case of The Winter's Tale, even rehearsal observation. This latter approach is particularly fruitful in providing privileged insights into Cheek by Jowl's process and makes a valuable contribution to the burgeoning field of rehearsal studies. * Theatre Notebook * Author InformationPeter Kirwan is Associate Professor in Early Modern Drama at the University of Nottingham, UK. His recent books include Shakespeare and the Idea of Apocrypha (2015) and Canonising Shakespeare: Stationers and the Book Trade, 1640–1740 (with Emma Depledge, 2017). Tab Content 6Author Website:Countries AvailableAll regions |
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