Immanent Shakespearing: Politics, performance, pedagogy

Unlike much of the secondary literature on Shakespeare, "Immanent Shakespeares: Politics, Performance, and Pedagogy" labors less to determine what Shakespearean texts might mean than to explore the cultural work these texts do while working in conjunction with contemporary institutions of learning and technologies of performance. Shakespeare studies too often takes the determination (or destabilization) of meaning as its telos, even when it's largely informed by performance criticism. This project sets meaning aside to focus on how Shakespeare's textuality gets mobilized through performance in order to produce material effects---effects that exceed and shape semantic meaning.;Cultural studies' spatializing tendency, inseparable from the way it often figures difference (as "difference between" two discrete identities), is rooted in a long history of transcendental dialectics. Textuality and performance are framed, spatially, in terms of transcendence (even when stage-centered criticism tries to invert this relation, prioritizing performance, it nevertheless continues to understand difference within a transcendental relation). My project moves from a transcendental, spatial understanding of difference to one rooted in immanent, temporal duration.;The project considers Shakespearean performance within a variety of institutional arenas; different chapters consider reading practices, teaching practices, student performance, theatrical enactment, and new (and old) media engagement. This approach entails a series of interlocking, close, rhetorical readings of particular performances, theatrical/filmic/video/digital media technologies, arts/educational legislation, as well as the institutional discourses accompanying each. These close readings work to refigure the problem of textuality and performance in civic, aesthetic and pedagogical discourses; each chapter, subsequent to this refiguration, ends by proposing innovative, practice-based solutions.;In Chapter One, I build on the critique of spatialized understandings of text and performance outlined in the introduction in order to argue that the humanities' figuration of difference and power (alongside attendant assumptions about the relationship between self and structure) continues to hide more than it reveals about culture, history, power and performance. In the chapter, I argue for and illustrate what an alternative, immanent critique might look like. The chapter focuses on two "objects" (a methodological term which seems to point to how performance is always already spatialized): (1) a "radical" or "transgressive" performance of Macbush, a contemporary re-imagining of Macbeth, and (2) a seemingly co-opted, official, "normative" performance of Macbeth sponsored by Boeing, the "right-wing" NEA, and the US Department of Defense. Chapter Two develops the notion of immanent critique by revisiting dualistic notions of self and structure in film theory and performance studies. In this chapter, I look at the spatial arrangement of spectators, specific media, and apparatuses of projection. Through a reading of Prospero's Books, a 1991 "new media" film using proto-HDTV technologies and bourgeoning CGI graphics software, this chapter looks at film's ability, through these technologies, to trouble film theory's traditionally spatial understanding of filmic semiotics and the spectator's relation to the (transcendent) filmic apparatus. Chapter Three looks at how changing technologies continue to reconstitute the disciplinary gulf between film and theatre. In this chapter, I look at two interlocking performances: Richard Burton's 1964 Electronovision Hamlet and the Wooster Group's "new media" Hamlet. Working with Deleuze's idea of "the theatre of repetition," and continuing to work with Walter Benjamin's notion of "creative innervation," this chapter examines the technologies of repetition each Hamlet employs in order to read, write, and perform with the pre-recorded yet affective and "pseudopresent" specters of history. Chapter Four begins my engagement with critical pedagogy as I attempt to rework Freirean accounts of the classroom as a space of cultural contradiction and potential "liberation." The chapter asks how we might instead see classroom practices as productive of political, economic and ethical behaviors. In this chapter, I examine the strange effects of local, culturally specific pedagogical practices fusing Shakespeare and hip hop which---like the music itself---have been removed, practiced and copied outside of what was once their "proper" space. What happens when suburban youth are asked by their teachers to perform Macbeth in hip hop vernacular? Chapter Five brings immanent critique to the space of the classroom by examining another the Shakespeare teaching docudrama. These films, both fictional and documentary, chronicle "successful" pedagogues and the at-risk students whose lives they transform. In this chapter, I look at a few of these films alongside the No Child Left Behind Act's legislation on "character education." The dissertation's concluding chapter, its post-script, uses the pedants of Love's Labour's Lost to engage in an interdisciplinary genealogy of the geek. (Abstract shortened by UMI.)...