Students may also choose from a wide range of option modules offered on other English Department MA Programmes, or modules from another departments in the School, subject to agreement by the programme leader.
NB This is an indicative list only. For further information see the department's module description pages.
Students will be encouraged to address these issues by comparing a wide range of mainstream and alternative / fringe theatrical appropriations from a variety of critical approaches and from a range of localities, both within and beyond Anglophone cultures. A range of theoretical tools will be used to facilitate critical analysis of complex intercultural appropriations, including the concept of “hybridity” formulated by recent post-colonial critics and Bourdieu’s notions of “cultural capital”, “cultural field”, and “position taking”.
Theatre directors are invited to co-lead seminar sessions (on average a couple of sessions each year) as part of the delivery of this module.
Students are encouraged to attend productions during the first semester with a view to bringing a range of audience experiences to the seminar discussions in semester two.
Ideal preparation for this module would include the following reading:
Barbara Hodgdon and William B Worthen, A Companion to Shakespeare in Performance (Oxford: Wiley-Blackwell, 2005)
Margaret Jane Kidnie, Shakespeare and the Problem of Adaptation (London: Routledge, 2009)
Sonia Massai (ed.), Worldwide Shakespeares: Local Appropriations in Film and Performance (London: Routledge, 2005)
William B Worthen, Shakespeare and the Force of Modern Performance (Cambridge: Cambridge University Press, 2003)
In a given week, we will typically (though not always) look at a well-known Shakespeare play from the latter half of his career – Macbeth, say – alongside other Jacobean plays that address the same or connected issues – in Macbeth’s case, this means ‘witchcraft plays’ such as The Witch of Edmonton and Sophonisba.
The overall aim is to build up a comprehensive picture of the context for the second half of Shakespeare’s writing life, of the ways in which the Jacobean stage responded to and constructed the culture it inhabited, of the subjectivities and gender-identities of those whose lives were affected by it, and (building on first semester methodologies work) of the range of ways in which we in the early 21st century might address these matters critically.