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"Channeling Hamlet"
- Author(s):
- Sujata Iyengar (see profile)
- Date:
- 2021
- Group(s):
- CLCS Renaissance and Early Modern, LLC Shakespeare
- Subject(s):
- Intermediality, Podcasts, Metaphor, Bilingualism
- Item Type:
- Conference paper
- Conf. Title:
- Theatre Technologies Crossing Borders, Past to Present
- Conf. Org.:
- Theatre Without Borders
- Conf. Loc.:
- remote and in NYU Florence
- Conf. Date:
- June 2021
- Tag(s):
- Audio theatre, Bilingual theater, broadcast theatre, podcast comedy, Shakespearean adaptation, Adaptation
- Permanent URL:
- http://dx.doi.org/10.17613/jnjp-cd22
- Abstract:
- This paper, “Channeling Hamlet,” considers how audio Shakespeares such as radio broadcasts mean differently: when remediated as an a digital recording of Sir John Gielgud playing Hamlet in a storied broadcast from 1948 (the so-called “entirety” Hamlet), a later recording (1957) of Gielgud’s Hamlet with the cast of the Old Vic on vinyl LP, or some of the Hamlet podcasts popular just before and during the COVID-19 pandemic, such as Conor Hanratty’s “The Hamlet podcast,” or irreverent comedy programs such as (excuse my language, I’m quoting) “Fuckbois of Literature,” or the Seattle Shakespeare Company’s bilingual digital audio play of Hamlet from 2020. In particular I am interested in three particular aspects of these Hamlet-adjacent audio experiences: 1) the metaphor of the broadcast versus the podcast 2) how these performances understand textual “fidelity” 3) how they remediate or whether they remediate visual aspects of performance, such as costume, gesture, blocking and so forth using only sound, and to what extent the new medium comments upon or critiques its prior medium (the process known as intermediality).
- Notes:
- Taken from a chapter of the forthcoming "Shakespeare and Adaptation Theory" (Bloomsbury, under contract).
- Metadata:
- xml
- Status:
- Published
- Last Updated:
- 2 years ago
- License:
- All Rights Reserved
twb_2021_channeling_hamlet.docx