When I studied Shakespeare’s works as an undergraduate, I became intrigued by the questions of why and how we got to the point where Shakespeare’s name is recognised all over the world, his plays are quoted in everyday conversation, and his works are central to every English Literature course. I’ve pursued these questions in my academic research, where I look at the history of Shakespeare in performance, but also at how these performances are remembered in souvenirs, pictures, and objects.
I wrote
Still Shakespeare and the Photography of Performance
This book offers an art historian’s take on an exhibition that created a recognisable genre of ‘Shakespeare painting’ and included many paintings which informed illustration and stage design for generations. Rosie Dias looks at the connection between Boydell’s Gallery and English nationalism, noting that the gallery launched at the time of the French Revolution and of George III’s first attack of mental illness. Dias gives sensitive and informative readings of individual paintings and addresses the exhibition itself as a social and cultural event with a long-lasting influence.
In the late 18th century, as a wave of English nationalism swept the country, the printseller John Boydell set out to create an ambitious exhibition space, one devoted to promoting and fostering a distinctly English style of history painting. With its very name, the Shakespeare Gallery signaled to Londoners that the artworks on display shared an undisputed quality and a national spirit. Exhibiting Englishness explores the responses of key artists of the period to Boydell's venture and sheds new light on the gallery's role in the larger context of British art.
Tracking the shift away from academic and Continental European…
Alan R. Young’s close focus on an individual play over nearly two centuries shows how far images can shape our ideas of what a play is about. He looks at paintings, illustrations, prints, photographs, and comic burlesques, demonstrating the incredible variety of images which have been inspired by Hamlet. I find Young’s chronological approach incredibly helpful, since it shows how one image influences another, and how representations of a single scene can change over time in line with fashions in the art world.
This book examines the manner in which Shakespeare's Hamlet was perceived in the eighteenth and nineteenth centuries and represented in the available visual media. The more than 2,000 visual images of Hamlet that the author has identified both reflected the critical reception of the play and simultaneously influenced the history of the ever-changing constructed cultural phenomenon that we refer to as Shakespeare.
If Young’s focus on just one play seemed hyper-specific, this book takes it a step further by looking at the afterlife of a single character from Hamlet. Deanne Williams and Kaara L. Peterson have brought together chapters looking at Ophelia in painting, photography, film, stage design, and even on social media. The international group of authors looks at Ophelia from different perspectives and demonstrates her connections with the history of women’s physical and mental health. The striking photograph on the cover – Gregory Crewdson’s Untitled (Ophelia) – is a key example of the collection’s scope: it restages a famous nineteenth-century painting of the drowning Ophelia, but sets it in a modern living room.
This collection of new essays is the first to explore the rich afterlife of one of Shakespeare's most recognizable characters. With contributions from an international group of established and emerging scholars, The Afterlife of Ophelia moves beyond the confines of existing scholarship and forges new lines of inquiry beyond Shakespeare studies.
Barbara Hodgdon’s sensitive, thoughtful, and often funny writing about how we remember Shakespeare's performances was one of the main reasons I wanted to explore this topic; her essay "Thirteen Ways of Looking at a Still" shaped my thinking about Shakespeare's photography. This book reflects on her lifetime of theatregoing and puts personal memories and souvenirs into conversation with other kinds of records – photographs, sketches, prompt books, and props. In the process she explores the relationship between rehearsal, performance, and archives. Her approach is consciously playful, acknowledging the role of the imagination in the workings of memory.
Shakespeare, Performance and the Archive is a ground-breaking and movingly written exploration of what remains when actors evacuate the space and time of performance. An analysis of 'leftovers', it moves between tracking the politics of what is consciously archived and the politics of visible and invisible theatrical labour to trace the persistence of performance.
In this fascinating volume, Hodgdon considers how documents, material objects, sketches, drawings and photographs explore scenarios of action and behaviour - and embodied practices. Rather than viewing these leftovers as indexical signs of a theatrical past, Hodgdon argues that the work they do is neither strictly…
Today, one of the most prominent visual media in which Shakespeare’s plays are recreated is cinema. Judith Buchanan’s work exposes the role of Shakespeare in building intellectual credibility for the early film industry and addresses the paradox of adapting plays celebrated for their language in a medium with no spoken words. She shows how early films were shaped by the visual conventions of the Victorian stage and by popular technologies such as the magic lantern. The book demonstrates some of the techniques used by silent films to remake familiar images and adapt Shakespeare’s long speeches to visual storytelling.
Several hundred films based on Shakespearean material were made in cinema's 'silent' era. What economic and cultural ambitions combined in order to make Shakespeare such attractive source material for the film industry? What were the characteristic approaches of particular production companies and of particular national film industries? How were silent Shakespeare films marketed, distributed, exhibited and received? Through a series of close readings, and drawing upon a wealth of primary research, this engaging account tells an evolving story that both illuminates silent Shakespeare films already known, and brings into critical circulation other films not yet commercially available and therefore little…
Still Shakespeare and the Photography of Performance looks at the history of Shakespeare in performance alongside the history of photography. It asks how far we can rely on a photograph to tell us what a performance was like, looking at examples from the Victorian period to the present day. The book also explores how particular images, such as Hamlet’s interview with Yorick’s skull, have become iconic, and suggests that the answer is related to the contingencies of early photography. In the process, the book engages with philosophical questions raised by Roland Barthes, Susan Sontag, and Walter Benjamin about whether photographs really tell the truth.
I come by my interest in history and the years before, during, and after the Second World War honestly. For one thing, both my father and my father-in-law served as pilots in the war, my father a P-38 pilot in North Africa and my father-in-law a B-17 bomber pilot in England. Their histories connect me with a period I think we can still almost reach with our fingertips and one that has had a momentous impact on our lives today. I have taken that interest and passion to discover and write true life stories of the war—focusing on the untold and unheard stories often of the “Average Joe.”
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on any other single day of the war.
The narrative of No Average Day proceeds hour by hour and incident by incident while focusing its attention on ordinary individuals—clerks, radio operators, cooks, sailors, machinist mates, riflemen, and pilots and their air crews. All were men who chose to serve their country and soon found themselves in a terrifying and otherworldly place.
No Average Day reveals the vastness of the war as it reaches past the beaches in…
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on December 7, 1941, when the Japanese attacked Pearl Harbor, or on June 6, 1944, when the Allies stormed the beaches of Normandy, or on any other single day of the war. In its telling of the events of October 24, No Average Day proceeds hour by hour and incident by incident. The book begins with Army Private First-Class Paul Miller's pre-dawn demise in the Sendai #6B Japanese prisoner of war camp. It concludes with the death…
