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Intermedial Shakespeares argues that intermediality has refashioned performances of Shakespeare´s plays over the last two decades in Europe. It describes ways in which text and author, time and space, actor and audience have been redefined in Shakespearean productions that incorporate digital media, and it traces transformations in practice.

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1 Introduction 2 Drama: Intermedial Texture 3 Time and Space: Intermedial Stratigraphy 4 Actors and Audiences: Intermedial Mirror 5 New Media as Old Media 6 Digital Intermediality without Digital Technology 7 Conclusions Appendix: Table of Performances Notes Cited Works Index

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In Intermedial Shakespeare on European Stages , Aneta Mancewicz sets contemporary Shakespeare performance at the center of an emerging, "intermedial" critique of theatrical production. Rather than understanding the stage as a secondary medium for the replication of dramatic writing, Mancewicz sees contemporary Shakespeare to stage an inter-exchange between textual, live-acting, and recorded media of performance. Shakespearean drama, here, is not so much presumed as negotiated by performance, and Mancewicz engages the conceptual work of intermediation through rigorous readings of some of the most demanding of recent Continental stage productions. Tracing the theoretical work of contemporary Shakespeare performance, Intermedial Shakespeare on European Stages opens a valuable perspective on the interplay between Shakespearean drama and our changing modes and means of production. - W. B. Worthen, Barnard College, Columbia University, USA

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Aneta Mancewicz is Lecturer in Drama at the Kingston University, UK. She was Marie Curie Research Fellow at the Royal Central School of Speech and Drama. She is the Editor for Europe at the Global Shakespeares Video and Performance Archive, Massachusetts Institute of Technology, USA and co-convener of the Intermediality working group of the International Federation for Theatre Research.

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