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If honour and principle were the watchwords for Caesars of the nineteenth century, and totalitarianism the core of twentieth, the word which ghosts twenty-first-century productions most clearly is 'spin'. This book traces this evolutionary journey, and discusses productions because they somehow speak to ideas about the play which characterise their period of production, or they have significant features in their own right. It first gives an account of productions of the play prior to the Second World War, right from the stagings at the Globe Theatre's in 1599 to William Bridges-Adams's productions till 1934. The 1937 Orson Welles's production of Julius Caesar, staged at New York's Mercury Theatre was decked out with all the trappings and scenic theatricality of contemporary European Fascism. Shakespeare's play becomes a forum for a consideration of an ethics of American identity with John Houseman's 1953 film. The book discusses three modernist productions of Lindsay Anderson, John Barton and Trevor Nunn, and the new versions of the play for the British TV. The productions under Thatcher's Britain are also focused as well as the unknown accents, especially the Indian and African ones. The productions of Italy, Austria and Germany productions have eschewed direct political association with past or present regimes. The book also presents a detailed study of two productions by a single company, Georgia Shakespeare. In the new millennium, the play's back-and-forth exchange between its long past and the shrill and vibrant insistence of its present, have taken centre stage.

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Gender and the erasure of Soviet Marxist epistemology
Bogdan Popa

during the Cold War. Marxist political regimes not only allowed western ideas to circulate to a certain degree, but also incorporated them as part of their ideological program. The official politics of eastern socialism was to authorize many western aesthetic and cinematic genres, such as high modernist productions, as long as they were subsumed under official communism. 3 Yet the

in De-centering queer theory
Anderson, Barton and Nunn
Andrew James Hartley

praiseworthily traditional, and productions like those of Volankis and Blatchley were seen largely as quirky, attention-grabbing deviants. Though both were modernist productions, albeit of different kinds, much of what they actually did on stage was fairly conventional, and where they were innovative the effect was too easily dismissed because of inadequate execution. They were, however, the beginning of a

in Julius Caesar
Laura Chrisman

a fracturing of self-identity, substituting aesthetic for social totalities. But whereas Jameson emphasises the sense of loss – modernist metropolitans as victims of capitalism’s splitting – Said emphasises the sense of domination underlying modernist production; the formal experimentation chapter3 21/12/04 56 11:14 am Page 56 Imperialism substituting art and its creations for the once-possible synthesis of the world empires. When you can no longer assume that Britannia will rule the waves forever, you have to reconceive reality as something that can be held

in Postcolonial contraventions
Marcel Stoetzle

, ‘the king is always played by the other actors’, not by the actor who supposedly plays the king. Even if, say, everybody on stage was naked or wore identical black suits, as is sometimes the case in a modernist production, and even if ‘the king’ was entirely silent, one could tell who was the king just from watching how the others act towards him. On the stage that we call society, some of those ‘other actors’ may or may not believe in some kind of kingly essence that makes the king a king – it does not matter as long as they do the acting. In reality, of course

in Beginning classical social theory