Thomas Cartelli is Professor of English & Film Studies at Muhlenberg College, USA. He is author of Marlowe, Shakespeare, and the Economy of Theatrical Experience (1991), Repositioning Shakespeare (1999), and co-author (with Katherine Rowe) of New Wave Shakespeare on Screen (2007). He has also edited The Norton Critical Richard III (2009).

• Chapter 1: Reenacting Shakespeare in the Shakespeare Aftermath.- Chapter 2: The Intermedial Turn & Turn to Embodiment.- Chapter 3:  Ghosts of History: Edward Bond’s Lear & Bingo, Heiner Müller’s Hamletmachine.- Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus, Forget Hamlet & Haider.- Chapter 5: Peter Greenaway’s Montage of Attractions: Prospero’s Books and the Paratextual Imagination.- Chapter 6: Channeling the Ghosts: the Wooster Group’s Remediation of the 1964 Electronovision Hamlet.- Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman Tragedies & the Problem of Spectatorship.- Chapter 8: Disassembly, Meaning-Making & Montage in Annie Dorsen’s A Piece of Work and Péter Lichter and Bori Máté’s The Rub.- Chapter 9: CODA: Mixed Reality: the Virtual Future & Returnto Embodiment.

Thomas Cartelli is Professor of English & Film Studies at Muhlenberg College, USA. He is author of Marlowe, Shakespeare, and the Economy of Theatrical Experience (1991), Repositioning Shakespeare (1999), and co-author (with Katherine Rowe) of New Wave Shakespeare on Screen (2007). He has also edited The Norton Critical Richard III (2009).

• Chapter 1: Reenacting Shakespeare in the Shakespeare Aftermath.- Chapter 2: The Intermedial Turn & Turn to Embodiment.- Chapter 3:  Ghosts of History: Edward Bond’s Lear & Bingo, Heiner Müller’s Hamletmachine.- Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus, Forget Hamlet & Haider.- Chapter 5: Peter Greenaway’s Montage of Attractions: Prospero’s Books and the Paratextual Imagination.- Chapter 6: Channeling the Ghosts: the Wooster Group’s Remediation of the 1964 Electronovision Hamlet.- Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman Tragedies & the Problem of Spectatorship.- Chapter 8: Disassembly, Meaning-Making & Montage in Annie Dorsen’s A Piece of Work and Péter Lichter and Bori Máté’s The Rub.- Chapter 9: CODA: Mixed Reality: the Virtual Future & Returnto Embodiment.

Thomas Cartelli is Professor of English & Film Studies at Muhlenberg College, USA. He is author of Marlowe, Shakespeare, and the Economy of Theatrical Experience (1991), Repositioning Shakespeare (1999), and co-author (with Katherine Rowe) of New Wave Shakespeare on Screen (2007). He has also edited The Norton Critical Richard III (2009).

• Chapter 1: Reenacting Shakespeare in the Shakespeare Aftermath.- Chapter 2: The Intermedial Turn & Turn to Embodiment.- Chapter 3:  Ghosts of History: Edward Bond’s Lear & Bingo, Heiner Müller’s Hamletmachine.- Chapter 4: States of Exception: Remembering Shakespeare Differently in Anatomie Titus, Forget Hamlet & Haider.- Chapter 5: Peter Greenaway’s Montage of Attractions: Prospero’s Books and the Paratextual Imagination.- Chapter 6: Channeling the Ghosts: the Wooster Group’s Remediation of the 1964 Electronovision Hamlet.- Chapter 7: High Tech Shakespeare in a Mediatized Globe: Ivo van Hove’s Roman Tragedies & the Problem of Spectatorship.- Chapter 8: Disassembly, Meaning-Making & Montage in Annie Dorsen’s A Piece of Work and Péter Lichter and Bori Máté’s The Rub.- Chapter 9: CODA: Mixed Reality: the Virtual Future & Returnto Embodiment.