ISES
Intermedial Shakespeare on European Stages
| Coordinatore | THE CENTRAL SCHOOL OF SPEECH AND DRAMA LBG
Organization address
address: ETON AVENUE EMBASSY THEATRE contact info |
| Nazionalità Coordinatore | United Kingdom [UK] |
| Totale costo | 193˙349 € |
| EC contributo | 193˙349 € |
| Programma | FP7-PEOPLE
Specific programme "People" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013) |
| Code Call | FP7-PEOPLE-2010-IEF |
| Funding Scheme | MC-IEF |
| Anno di inizio | 2011 |
| Periodo (anno-mese-giorno) | 2011-09-26 - 2013-09-25 |
Partecipanti
| # | ||||
|---|---|---|---|---|
| 1 |
THE CENTRAL SCHOOL OF SPEECH AND DRAMA LBG
Organization address
address: ETON AVENUE EMBASSY THEATRE contact info |
UK (LONDON) | coordinator | 193˙349.60 |
Mappa
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Obiettivo del progetto (Objective)
'The project investigates intermedial adaptations of Shakespeare’s plays on European stages since the 1990s. It explores creative blendings of new media and theatre in Shakespearean adaptations, with a selective focus on British, German, Flemish, Italian and Polish performances (thereby addressing theatre practices in the four quarters of the continent). It examines: - shifts in staging practices in European theatre enabled by or in relation to new media and digital technologies; - Shakespeare’s place in the contemporary performance landscape, in relation to innovations in form and renegotiations of currency and discourse; - changes in cultural values and processes, as evidenced in developments of European theatre practice in and through intermedial Shakespearean adaptation.
Intermediality describes fusions of media that generate hybridized works which derive from and alter patterns of cultural production and participation. Rapid and ongoing developments in digital culture and new media have contributed to changes in creative agency, cultural production and dissemination. The project analyses selected productions in Europe across a twenty-year period to investigate patterns of intermediality, such as increased interactivity, intertextuality, self-reflexivity, and expansion of temporal and spatial perspectives. New intermedial practices facilitate new ways of perceiving text, authorship, character, actor, audience and performance itself; they open Shakespeare’s plays to new interpretations that focus, for instance, on surveillance and virtuality. Innovative Shakespearean production provides a litmus test for changes in theatre practice and uses of technology; it indicates ways in which Shakespeare is remade (again). The project seeks to define effects of intermediality on European theatre, Shakespeare and culture. It disseminates research findings through publications, conference papers, public talks, a symposium and, after the end of the project, new courses.'