Innovating Shakespeare
The Politics of Technological Partnership in the Royal Shakespeare Company’s The Tempest (2016)
Bibliographic Data
| ID | 20248183 |
|---|---|
| Authors | Amy Borsuk (0000-0002-0593-5687, Queen Mary University of London, corresponding author) |
| Year | 2019 |
| Volume | 8 |
| Issue | 1 |
| Pages | 42 |
| Publication date | 2019-03-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Humanities (JOURNAL) |
| Journal identifiers | ISSN: 2076-0787 • E-ISSN: 2076-0787 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/h8010042 |
| OpenAlex | W2920127557 |
| Language | EN |
| References cited | 12 |
This article examines the Royal Shakespeare Company’s (RSC) recent focus on digital ‘innovation’ by analysing the relationship between their emerging digital-focused business practices and digital performance practice for The Tempest (2016). To assess this relationship, I first review the socioeconomic context of 21st century neoliberal UK economic policy that encourages arts organisations such as the RSC to participate in innovative digital production practices. I follow with a definition and deconstruction of ‘innovation’ as a key term in UK economic policy. I then demonstrate how the RSC has strategically become involved in innovation practices throughout the 2010s. I will then analyse the digital, motion-capture performance practices the RSC developed in partnership with Intel and motion-capture studio The Imaginarium for The Tempest. In doing so, I will demonstrate that The Tempest serves to legitimise the RSC’s status as a competitor and collaborator in the wider digital economy
Art · Art history · Bespoke · Context (archaeology) · Economics · General partnership · Management · Political science · Politics · Public relations · Sociology · Tempest · Artistic and Creative Research · Cultural Industries and Urban Development · History · Law · Theatre and Performance Studies
| Highly cited | No |
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