“Yorick’s Skull: Hamlet’s Improper Property.”

This is the final version of the article. Available from the publisher via the links in this record.No abstrac

South Bank Shakespeare Goes Global: Broadcasting from Shakespeare’s Globe and the National Theatre

This is the author accepted manuscript. The final version is available from Bloomsbury via the ISBN in this recordThis chapter argues that whereas their authority stems from their historical association with the early modern theatre industry, South Bank Shakespeares are shaped by the distinctive architectures and the types of performer-audience dynamics fostered by the affordances of the National Theatre and Shakespeare's Globe, as interpreted by their successive artistic directors. I show how through paratexts, camerawork, and the triggering of strong affective responses, broadcasts are able to generate atmospheres in which broadcast audiences experience a ‘distributed presence’ that transcends boundaries of time and space. A phenomenology of space and affect grounded in Michel de Certeau’s work allows me to explain how broadcasts generate the experience of spatial inclusion or exclusion, which in turn contributes to the sensation of participation in the event. I argue that strong affects have the capacity to transcend spatial and temporal boundaries, connecting remote audiences with the performance in the here-and-now of their emotional response. The handling of strong affect, combined with a representation of space as transactional, is a catalyst of 'aliveness'. My close analysis of broadcasts from the National Theatre and Shakespeare's Globe since 2003 reveals that the two companies generate distinctive modes of spectatorial engagement which, most recently, have merged to generate a more hybrid style of 'South Bank Shakespeare', with remote spectators responding to prompts within the broadcasts by engaging in digital modes of interaction

Review of Paul Menzer, Shakespeare in the Theatre: The American Shakespeare Center, Bloomsbury Arden Shakespeare, 2017

This is the author accepted manuscript. The final version is available from Johns Hopkins University Press via the DOI in this record.Shakespeare in the Theatre: The American Shakespeare Center. By Paul Menzer. Bloomsbury, 2017. Pp. xviii+ 252. $74.00 (hardback),$24.95 (paper)

Shakespeare from the House of Molière: The Comédie-Française/Pathé Live Roméo et Juliette (2016)

This is the author accepted manuscript. The final version is available from Bloomsbury via the ISBN in this recordThis chapter analyses the broadcast of Roméo et Juliette (Romeo and Juliet) that launched the Comédie-Française's collaboration with Pathé Live to bring three of the theatre's shows to cinema screens in Francophone regions. I argue that the company's approach to broadcasting is typical of French cultural exceptionalism, as cinema broadcasts in France draw on their own traditions of television broadcasting and their own training methods to produce an experience that is distinctive and in tune with the production's own mixture of traditional declamatory performance styles and performers at ease with direct address to the audience, both in the Salle Richelieu and cinemas

Shakespeare from the House of Molière: The Comédie-Française/Pathé Live Roméo et Juliette (2016)

This is the author accepted manuscript. The final version is available from Bloomsbury via the ISBN in this recordThis chapter analyses the broadcast of Roméo et Juliette (Romeo and Juliet) that launched the Comédie-Française's collaboration with Pathé Live to bring three of the theatre's shows to cinema screens in Francophone regions. I argue that the company's approach to broadcasting is typical of French cultural exceptionalism, as cinema broadcasts in France draw on their own traditions of television broadcasting and their own training methods to produce an experience that is distinctive and in tune with the production's own mixture of traditional declamatory performance styles and performers at ease with direct address to the audience, both in the Salle Richelieu and cinemas

Review of "The Winter's Tale", Dir. Declan Donnellan for Cheek by Jowl, Silk Street Theatre, London Barbican, 2017

This is the author accepted manuscript. The final version is available from Johns Hopkins University Press via the DOI in this record.Review of The Winter’s Tale. Presented by Cheek by Jowl, at the Silk Street Theatre, Barbican, London, UK. April 5-22, 2017. Directed by Declan Donnellan. Designed by Nick Ormerod. Lighting design by Judith Greenwood. Music and sound design by Paddy Cunneen. With Grace Andrews (Emilia/Time), Joseph Black (Cleomenes), David Carr (Camillo), Tom Cawte (Mamillius), Ryan Donaldson (Autolycus), Guy Hughes (Dion), Orlando James (Leontes), Sam McArdle (Young Shepherd), Eleanor McLoughlin (Perdita), Peter Moreton (Old Shepherd/Antigonus), Natalie Radmall-Quirke (Hermione/Dorcas), Joy Richardson (Paulina/Mopsa), Edward Sayer (Polixenes), and Sam Woolf (Florizel)

Colony and nest site fidelity of the Rock Shag (Phalacrocorax magellanicus)

The rock shag (Phalacrocorax magellanicus) is an endemic species from southern Argentina and Chile. In Argentina, the population is distributed along the Patagonian coast in 143 small colonies (5–377 pairs). We studied colony and nest site fidelity of rock shags at Punta Loma, Patagonia, Argentina. We banded 37 adults from December 2001 to June 2003, during two breeding and two non-breeding seasons. Nest site fidelity was extremely high during consecutive breeding and also non-breeding seasons. The high percentage of banded birds residing in the colony in consecutive seasons suggests that rock shags are highly faithful to breeding sites and supports the idea of low post-breeding dispersion.Fil: Sapoznikow, Alexandra. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Centro Nacional Patagónico; ArgentinaFil: Quintana, Flavio Roberto. Wildlife Conservation Society; Estados Unidos. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Centro Nacional Patagónico; Argentin