Background
Robert Shaughnessy was born on May 8, 1962, in Macmillan, Indianapolis, Indiana, United States.
(Robert Shaughnessy considers the major issues in the theo...)
Robert Shaughnessy considers the major issues in the theory and practice of socialist drama, using as his point of departure the performance-centred close analysis of three plays: Edward Bond's "Lear", Arnold Wesker's "Roots", and John Arden's "Sergeant Musgrave's Dance". Through the comparison and juxtaposition of these plays, this guide introduces key concerns and debates: the politics of theatre criticism, the relation between text and performance, illusionism versus Epic Theatre. The basis for the discussion throughout is the performance potential of the three plays; a mode of active reading geared towards a socialist theatre practice. Overall, this guide aims to enable students to engage not only with the individual texts but with the broader possibilities of socialist theatre.
https://www.amazon.co.uk/Three-Socialist-Plays-Musgraves-Literature/dp/0335096069/ref=sr_1_10?dchild=1&keywords=robert+Shaughnessy&qid=1585060933&sr=8-10
1992
(This text traces the changing theatrical and cultural ide...)
This text traces the changing theatrical and cultural identity of the History plays in the context of postwar social and political conflict, crisis and change. Since the company's inception in the early 1960s, the RSC's commitment to relevance has fostered close relationships between Shakespearean criticism and performance, and between the theatre and its audiences. Through a detailed discussion of key productions, from "The War of the Roses" in 1963 to "The Plantegenets" in 1988, Robert Shaughnessy emphasizes the political dimension of contemporary theatrical representations of Shakespeare, and of the "Shakespearean" modes of history that these plays have been employed to promote; individualist, cyclical, male-dominated, and driven by essentialised, transcendent human nature.
https://www.amazon.co.uk/Representing-Shakespeare-England-History-RSC-ebook/dp/B00LTNZ0VG/ref=sr_1_8?dchild=1&keywords=robert+Shaughnessy&qid=1585060933&sr=8-8
1994
(This collection of contemporary criticism highlights the ...)
This collection of contemporary criticism highlights the ways in which recent discussion of Shakespeare on film has drawn upon the theoretical perspectives of Marxism, feminism, psychoanalysis and post-structuralism, generating a radical reappraisal of Shakespearean cinema which has itself experienced a revival in the last decade. The essays address the cultural politics of film adaptation from a variety of angles, offering readings of individual films but also raising larger questions about the nature, purpose and future direction of Shakespearean cinema.
https://www.amazon.co.uk/Shakespeare-Film-Contemporary-Critical-Casebooks/dp/0312214472/ref=sr_1_4?dchild=1&keywords=robert+Shaughnessy&qid=1585060933&sr=8-4
1998
(This collection of modern essays by leading figures in th...)
This collection of modern essays by leading figures in the field of Shakespeare scholarship reveals the rich interplay between contemporary theoretical approaches - psychoanalytic, new historicist, feminist and cultural materialist - and the study of the play in performance, both in Shakespeare's time and our own. Examining the representation of power, ideology, class, race and gender in a wide range of playtexts and theatrical contexts, the essays explore Shakespeare's performance possibilities in theory and in practice.
https://www.amazon.co.uk/Shakespeare-Performance-Casebooks-Robert-Shaughnessy/dp/0333741242/ref=sr_1_7?dchild=1&keywords=robert+Shaughnessy&qid=1585060933&sr=8-7
2000
Robert Shaughnessy was born on May 8, 1962, in Macmillan, Indianapolis, Indiana, United States.
Before joining GSA in 2017 Robert was Professor of Theatre at the University of Kent; prior to that, he held posts at Roehampton University and the University of the West of England. His teaching lies mainly in the areas of theatre and performance history, with a particular emphasis on Shakespeare and early modern drama in its own time and our own, as well as on the theatres of the United Kingdom, Europe, and the United States from the twentieth century to the present. His approach rests upon a combination of practical exploration, close engagement with current professional practice, and with the primary materials of performance history through archive work, which he has introduced at both undergraduate and postgraduate levels. He teaches Shakespeare through a company-based structure and has pioneered the practical teaching of theatre history.
(This collection of contemporary criticism highlights the ...)
1998(This collection of modern essays by leading figures in th...)
2000(Robert Shaughnessy considers the major issues in the theo...)
1992(This text traces the changing theatrical and cultural ide...)
1994Robert Shaughnessy considers socialist drama in Three Socialist Plays: Lear, Roots, Sergeant Musgrave’s Dance. In Shaughnessy’s Representing Shakespeare: England, History, and the RSC he examines Shakespeare's history plays in light of postwar political and social clashes and changes. He discusses such productions as The War of the Roses (1963) and The Plantegenets (1988) with an emphasis on the political aspects of contemporary Shakespearean representations and their promotion of individualism and male domination, motivated by transcendent human nature.
Quotes from others about the person
Waywell wrote that Shaughnessy handles the variety of views “adroitly... The essays actually build on each other and reflect the divided schools of thought.”