Performing Transversally

BRYAN REYNOLDS is Associate Professor of Drama at the University ofCalifornia at Irvine, USA. He earned his Ph.D. from Harvard, where he studied Shakespeare under Marjorie Garber and Stephen Greenblatt.Bryan has recently been named as one of Gary Taylor's '6 most brilliant Renaissance scholars in the world under 40'

• Foreword: Seeing Across Shakespeare; J.Reinelt Transversal Performance: Shakespace, the September 11th Attacks, and the Critical Future; B.Reynolds The Making of Authorships: Transversal Navigation in the Wake of Hamlet, Robert Wilson, Wolfgang Wiens, and Shakespace; D.J.Hopkins & B.Reynolds Venetian Ideology or Transversal Power?: Iago's Motives and the Means by which Othello Falls; J.Fitzpatrick & B.Reynolds (with additional dialogue by Bryan Reynolds and Janna Segal) 'What is the city but the people?': Transversal Performance and Radical Politics in Shakespeare's Coriolanus and Brecht's Coriolan; B.Reynolds Untimely Ripped: Mediating Witchcraft in Polanski and Shakespeare; B.Reynolds Nudge, Nudge, Wink, Wink, Know What I Mean, Know What I Mean?: A Theoretical Approach to Performance for a Post-Cinema Shakespeare; D.J.Hopkins, C.Ingman, & B.Reynolds 'A little touch of Harry in the night': Translucency and Projective Transversality in the Sexual and National Politics of Henry V; D.Hedrick & B.Reynolds Inspriteful Ariels: Transversal Tempests; B.Reynolds & A.Thompson 'For such a sight will blind a father's eye': The Spectacle of Suffering in Taymor's Titus; C.Lehmann, B.Reynolds, & L.Starks Friend or Foe, Shakespeare's Ends is the Means: Revising Early Modern English Iconography, Elisabetta Points Toward the Critical Future; B.Reynolds and J.Segal Afterword: Walk Like An Egyptian; J.Gil Harris Appendix: Transversal Poetics: I.E.Mode Notes on Collaborators

"Performing Transversally is an innovative example of collaborative scholarship aimed at opening the classic Shakespearean text to unexpected interpretive contexts and possibilities. Whether exploring the sado-masochistic dynamics of Othello or bringing Shakespeare and Dario Fo into productive dialogue, Reynolds and his collaborators use Shakespeare to explore uncharted emotional and cognitive landscapes... Performing Transversally offers a highly-caffeinated alternative to conventional criticism." - Jean E. Howard, William E. Ransford Professor of English, Columbia University "In Performing Transversally, Reynolds takes his collaborators and us on a dazzling, even mind-altering trip through what Reynolds calls 'Shakespace,' offering us trenchant sociohistorical readings both of Shakespeare's plays and adaptations of them by Dryden, Polanski, Brecht, Cesaire, Wilson, Fo, and Taymor. Reynolds powerfully reaffirms the agency of the subject and offers hope for theoretical intervention as a viable form of political activism conceived quite daringly here as the transcendence of all conceptual, emotional, social, and physical limits." - Richard Burt, author of Unspeakable ShaXXXspeares "Transferring models of collaborative authorship from theatre and performance to academic discourse, Performing Transversally productively sets out to re-imagine a critical terrain for Shakespeare in which text and critic are in constant movement, where dispersals, expansions, variabilities, metamorphoses, reconfigurations, alternatives, and contradictions rule. Offering multivocal, processual accounts of how such conversations and negotiations invite links between fields of discourse, Reynolds and co-performers are master jugglers, keeping multiple texts, objects, ideas and ideologies simultaneously in view." - Barbara Hodgdon, University of Michigan "In Performing Transversally, Bryan Reynolds and a group of collaborators challenge critical orthodoxy by venturing into 'transversal territory' and into the overlapping realm of 'Shakespace.'... Because it insists that 'transversality' is the liberating, responsibility-conferring space where we can begin to understand and empathize with other people and other cultures, and because it insistently characterizes Shakespearean performance as 'transversal,' the book amounts to an important and marvelously high-spirited contribution to the turn toward ethics in literary and cultural studies." - Paul Yachnin, Tomlinson Professor of Shakespeare Studies, McGill University