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Romantic actors and bardolatry : performing Shakespeare from Garrick to Kean

Author: Celestine Woo
Publisher: New York : Peter Lang, ©2008.
Series: Studies in Shakespeare, v. 16.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
""Bardolatry," that whimsical term referring to Shakespeare's rise to canonical status as well as to his worshippers' adulation, solidified within the theatrical discourses of the eighteenth century and the British Romantic era. Celestine Woo examines the era's four most celebrated Shakespeare performers in London - David Garrick, John Philip Kemble, Sarah Siddons, and Edmund Kean - arguing that they broadened and
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Named Person: William Shakespeare; William Shakespeare; William Shakespeare; David Garrick; John Philip Kemble; Sarah Siddons; Edmund Kean; William Shakespeare; David Garrick; William Shakespeare; John Philip Kemble; William Shakespeare; Sarah Siddons; William Shakespeare; Edmund Kean; William Shakespeare; William Shakespeare
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Celestine Woo
ISBN: 9781433101632 1433101637
OCLC Number: 192109708
Description: xiii, 209 p. : ill. ; 24 cm.
Contents: Introduction. Bardolatry and "romantic" actors --
David Garrick: commodifying Shakespeare --
John Philip Kemble: consecrating Shakespeare --
Sarah Siddons: feminizing Shakespeare --
Edmund Kean: ironic icon, transgressive tabula rasa.
Series Title: Studies in Shakespeare, v. 16.
Responsibility: Celestine Woo.
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Abstract:

""Bardolatry," that whimsical term referring to Shakespeare's rise to canonical status as well as to his worshippers' adulation, solidified within the theatrical discourses of the eighteenth century and the British Romantic era. Celestine Woo examines the era's four most celebrated Shakespeare performers in London - David Garrick, John Philip Kemble, Sarah Siddons, and Edmund Kean - arguing that they broadened and altered the boundaries of Shakespearean discourse in specific ways, offering and modeling novel paradigms by which to apprehend Shakespeare, and thus contributing to the growth of bardolatry as a discursive phenomenon.

Using Pierre Bourdieu as a model, Woo traces the development of Shakespearean discourse as a field of cultural production, shaped by these actors. By examining their disparate approaches to performing Shakespeare, she reveals that Shakespeare as an icon became commodified, politicized, gendered, and increasingly appropriated within literary and dramatic discourse as a result of the influences of these four performers. Her analysis deepens our understanding of the processes by which Shakespeare was institutionalized as a figure representing national character, human nature, and the breadth of human experience."--BOOK JACKET.

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