James C Bulman
Biographic Data
| ID | 5920565 |
|---|---|
| NAME | James C Bulman |
| GIVEN NAMES | James C |
| FAMILY NAME | Bulman |
| SIGNATURE | BULMAN J C |
| AFFILIATIONS | Allegheny College |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 8 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 0 |
The Oxford Handbook of Shakespeare and Performance
Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance. Essays are divided into four groups. The first group interrogates how Shakespeare continues to achieve conte…
Global Shakespeare Criticism Beyond the Nation State
This chapter discusses three methodological concerns about studying global Shakespeare—those touring and intercultural performances often thought to play a geopolitical role in cultural diplomacy. First, the postnational space for global arts is shaped by mutual influence and fluid cultural locations rather than by traditional notions of the nation state. It is therefore no longer useful to consider a production within one national context. Secon…
Captive Shakespeare
This chapter considers productions of Shakespeare’s plays put on in captivity, especially during the First and Second World Wars. It studies the phenomenon of productions of the plays performed at prisons by visiting companies or by the prisoners ‘behind bars’ themselves. It analyses and contextualizes productions of Shakespeare’s plays staged ‘behind barbed wire’ in POW camps and civilian camps, prison camps and transit camps, labour camps and r…
Performance, Presence, and Personal Responsibility
What remains of the 2012 Globe to Globe Festival through the globeplayer.tv seems to have yoked neo-Victorian ideals of the 1851 Great Exhibition to twenty-first-century social media marketing tools. The globeplayer.tv helps to spread the Globe brand internationally but at a price. This chapter argues that the festival she experienced was much more than a product and that individual productions within it reclaimed, as well as wrote back to, imper…
Slapstick Against Stereotypes in South Sudan’s Cymbeline
The South Sudan Theatre Company (SSTC) brought its Juba Arabic translation of Cymbeline to the Globe to Globe Festival in London in 2012 amid expectations that the production would represent the country’s recent independence struggle. Associating the African country with violent conflict while representing Shakespeare as a force for peace, the advance publicity for the production repeated neocolonial tropes that stereotypically inform both entiti…
Open and Closed
The force of ‘Shakespeare’ as a source of cultural authority in South Africa has been extensively discussed. This chapter looks at a phenomenon that is less often acknowledged: the persistence of directorial power in post-apartheid Shakespearean performance. Renewed ties with British theatre after apartheid brought actors and directors trained in a more actor-centred approach into dialogue with local theatre practitioners, but this did little to …
Verbal and Visual Representations in Modern Japanese Shakespeare Productions
Despite growing interest in Asian Shakespeare performances, the intercultural strategy of Asian Shakespeare has largely been discussed from a scenographic perspective due to its powerful visual representations that transcend cultural boundaries. This chapter aims to correct the overemphasis on visual representation in critical assessment of Japanese Shakespeare performances by discussing, first, the presence of language in Yukio Ninagawa’s Shakes…
Victim of Improvisation’ in Latin America
The history of Shakespeare in Latin America spans roughly the same two hundred years as the region’s independent life. Throughout, his works have been the object of performance, translation, and adaptation more than of academic study and discussion. This essay offers a comprehensive framework for application to future work on the subject of Shakespeare performance in Latin America. The chief theoretical tools undepinning the essay are Haroldo de …
Shakespeare's Imagined Persons
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Heroic Idiom of Shakespearean Tragedy
Coriolanus and the Matter of Troy
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Coriolanus and the Matter of Troy
The Heroic Idiom of Shakespearean Tragedy
Shakespeare's Imagined Persons
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Oxford Handbook of Shakespeare and Performance
Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance. Essays are divided into four groups. The first group interrogates how Shakespeare continues to achieve conte…
Global Shakespeare Criticism Beyond the Nation State
This chapter discusses three methodological concerns about studying global Shakespeare—those touring and intercultural performances often thought to play a geopolitical role in cultural diplomacy. First, the postnational space for global arts is shaped by mutual influence and fluid cultural locations rather than by traditional notions of the nation state. It is therefore no longer useful to consider a production within one national context. Secon…
Captive Shakespeare
This chapter considers productions of Shakespeare’s plays put on in captivity, especially during the First and Second World Wars. It studies the phenomenon of productions of the plays performed at prisons by visiting companies or by the prisoners ‘behind bars’ themselves. It analyses and contextualizes productions of Shakespeare’s plays staged ‘behind barbed wire’ in POW camps and civilian camps, prison camps and transit camps, labour camps and r…
Performance, Presence, and Personal Responsibility
What remains of the 2012 Globe to Globe Festival through the globeplayer.tv seems to have yoked neo-Victorian ideals of the 1851 Great Exhibition to twenty-first-century social media marketing tools. The globeplayer.tv helps to spread the Globe brand internationally but at a price. This chapter argues that the festival she experienced was much more than a product and that individual productions within it reclaimed, as well as wrote back to, imper…
Slapstick Against Stereotypes in South Sudan’s Cymbeline
The South Sudan Theatre Company (SSTC) brought its Juba Arabic translation of Cymbeline to the Globe to Globe Festival in London in 2012 amid expectations that the production would represent the country’s recent independence struggle. Associating the African country with violent conflict while representing Shakespeare as a force for peace, the advance publicity for the production repeated neocolonial tropes that stereotypically inform both entiti…
Open and Closed
The force of ‘Shakespeare’ as a source of cultural authority in South Africa has been extensively discussed. This chapter looks at a phenomenon that is less often acknowledged: the persistence of directorial power in post-apartheid Shakespearean performance. Renewed ties with British theatre after apartheid brought actors and directors trained in a more actor-centred approach into dialogue with local theatre practitioners, but this did little to …
Verbal and Visual Representations in Modern Japanese Shakespeare Productions
Despite growing interest in Asian Shakespeare performances, the intercultural strategy of Asian Shakespeare has largely been discussed from a scenographic perspective due to its powerful visual representations that transcend cultural boundaries. This chapter aims to correct the overemphasis on visual representation in critical assessment of Japanese Shakespeare performances by discussing, first, the presence of language in Yukio Ninagawa’s Shakes…
Victim of Improvisation’ in Latin America
The history of Shakespeare in Latin America spans roughly the same two hundred years as the region’s independent life. Throughout, his works have been the object of performance, translation, and adaptation more than of academic study and discussion. This essay offers a comprehensive framework for application to future work on the subject of Shakespeare performance in Latin America. The chief theoretical tools undepinning the essay are Haroldo de …
Art (8 works) · History (8 works) · Literature (6 works) · Political science (6 works) · Law (5 works) · Psychology (5 works) · Shakespeare, Adaptation, and Literary Criticism (5 works) · Irish and British Studies (4 works) · Philippine History and Culture (4 works) · Philosophy (4 works)