Titlebook: Shakespeare‘s Original Stage Conditions and their Afterlives across the Globe; From the Wooden O to Yu Jin Ko Book 2024 The Editor(s) (if a

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Gudgeon

From the Wooden O to Tim Blake Nelson’s ,: The Boy Actor’s Voice and the Performance of Gender and RExamining the various and conflicting associations in the film with that voice (the “Ave Maria” from Verdi’s .; rap music; teen rebellion; sexual vulnerability; whiteness), I conclude that the voice of Desi contains within it so many of the hopes, desires, fears, and fantasies regarding race relations in twenty-first-century America.

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2947-8901 of interest that are separately studied: Shakespeare‘s orig.This book brings together two separate fields by combining a study of Shakespeare‘s original stage conditions with an exploration of his plays in performance across the globe. The book contributes new insights into how early-modern stage c

采纳

,Introduction: Shakespeare’s Original Stage Conditions, Their Afterlives, and Universality,erstanding more fully how material conditions shaped the writing, performance, and reception of Shakespeare’s plays. I pursue these questions, not in the spirit of archeological recovery but in the spirit of a consciously naive form of defamiliarization: highlighting what remains unfamiliar as possi

Obsessed

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OMIT

From the Wooden O to Tim Blake Nelson’s ,: The Boy Actor’s Voice and the Performance of Gender and Ro’s racial otherness? I delve into the so-called vibrato controversy to examine how the presence or absence of vibrato could have shaped the audience’s understanding of Desdemona’s moral character and gender appearance and thus have influenced the way Othello’s blackness was perceived. I then draw a

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Afflict