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Although there are plenty of books on Shakespeare and religion and Shakespeare and the Bible, no recent critics have recognized how Shakespeare’s plays popularized and spread the covenant idea, making it available for the modern project.  By seeding the plays with allusions to biblical covenant stories, Shakespeare not only lends ethical weight to secular lives but develops covenant as the core idea in a civil religion or a founding myth of the early-modern political community, writ small (family and friendship) and large (business and state).  Playhouse relationships, especially those between actors and audiences, were also understood through the covenant model, which lent ethical shading to the convention of direct address.  Revealing covenant as the biblical beating heart of Shakespeare’s drama, this book helps to explain how the plays provide a smooth transition into secular society based on the idea of social contract.\u003c\/p\u003e","brand":"Gardners","offers":[{"title":"Default Title","offer_id":52912071442711,"sku":null,"price":10730.72,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0679\/6918\/8119\/files\/9783319718439.jpg?v=1781503900"},{"product_id":"robert-lepages-scenographic-dramaturgy-9783319733685","title":"Robert Lepage's Scenographic Dramaturgy","description":"\u003cp\u003eThis book theorizes auteur Robert Lepage’s scenography-based approach to adapting canonical texts. 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Seeff introduces the African Theatre, Cape Town, in 1801, multilingual site of the first recorded performance of a Shakespeare play in Southern Africa where rival, amateur theatrical groups performed in turn, in English, Dutch, German, and French. Chapter 3 offers three vectors of a broadening Shakespeare diaspora in English, Afrikaans, and Setswana in the second half of the nineteenth century. Chapter 4 analyses André Brink’s Kinkels innie Kabel, a transposition of Shakespeare’s The Comedy of Errors into Kaaps, as a radical critique of apartheid’s obsession with linguistic and ethnic purity. Chapter 5 investigates John Kani’s performance of Othello as a Xhosa warrior chief with access to the ancient tradition of Xhosa storytellers. Shakespeare in Mzansi, a televisual miniseries uses black actors, vernacular languages, and local settings to Africanize Macbeth and reclaim a cross-cultural, multilingualism. 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It draws together leading and emerging scholars of early modern theatre and culture to debate the meaning of normality in an early modern context and to discuss how it might transfer to the stage. In doing so, these original critical essays unsettle and challenge scholarly assumptions about how normality is represented in the performance space. The volume, which responds to studies of the everyday and the material turn in cultural history, as well as to broader philosophical engagements with the idea of normality and its opposites, brings to light the essential role that normality plays in the composition and performance of early modern drama. 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This book demonstrates that both engaged in social reform through the Fabian Society; both took public anti-war positions and paid dearly for it; both fought British censorship throughout most of their careers as writers; both sought to strengthen women's rights; and both endeavored to revolutionize their respective art forms, believing that art could bring about positive social change. The main focus of the book, however, concerns how both also created interior authors - characters who write and who either self-censor their own works or highly publicized messages or are censored by their fellow characters. 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This has prompted the need for a robust and pragmatic framework for safe, ethical practice in mainstream and applied theatre. In order to promote a wider range of ethical risk-taking where practitioners negotiate blurred boundaries in safe and artistically creative ways, this book draws on relevant theory and practice from theatre and performance studies, psychodrama and attachment narrative therapy and provides detailed guidance supporting best practice in the theatre of personal stories. The guidance is structured within a four-part framework focused on history, ethics, praxis, and intentions. 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