Edinburgh University Press
Face-to-Face in Shakespearean Drama
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About this book
Explores the drama of proximity and co-presence in Shakespeare’s plays
Key Features
Brings together the rare pairing of philosophical ethics and performance studies in Shakespeare’s playsEngages with the thought of philosophers including Ludwig Wittgenstein, Hannah Arendt, Paul Ricoeur, Stanley Cavell, and Emmanuel Levinas
This book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. It examines the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb – to face, outface, interface, efface, deface, sur-face – chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.
Topics
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Frontmatter
i -
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Contents
v -
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List of Illustrations
vii -
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Acknowledgements
viii -
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Introduction
1 - Part I: Foundational Face Work
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1. Outface and Interface
27 -
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2. ‘Everybody’s Somebody’s Fool’: Folie à Deux in Shakespeare’s Love Duets
52 -
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3. The Course of Recognition in Cymbeline
77 - Part II: Composing Intimacy and Conflict
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4. Face to Face, Hand to Hand: Relations of Exchange in Hamlet
109 -
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5. Bed Tricks and Fantasies of Facelessness: All’s Well that Ends Well and Macbeth in the Dark
132 - Part III: Facing Judgement
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6. The Face of Judgement in Measure for Measure
163 -
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7. Then Face to Face: Timing Trust in Macbeth
176 - Part IV: Moving Pictures
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8. The Man of Sorrows: Edgar’s Disguise and Dürer’s Self-portraits
193 -
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9. The Face as Rhetorical Self in Ben Jonson’s Literature
210 -
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10. Hamlet’s Face
232 -
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Afterword: Theatre and Speculation
250 -
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Notes on Contributors
262 -
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Bibliography
264 -
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Index
285
