“It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly Voice

When in 2012 Tim Crouch received a commission from the RSC for the World Shakespeare Festival, he wrote the fifth play of his “I, Shakespeare” series: “I, Cinna (The Poet)”. Crouch’s play works on multiple levels of agency: as it challenges the relationship between performer and audience, it also un...

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Main Author: Andrea Peghinelli
Format: Article
Language:English
Published: Nicola Catelli - Corrado Confalonieri 2023-06-01
Series:Parole Rubate
Subjects:
Online Access:http://www.parolerubate.unipr.it/fascicolo27_pdf/F27_6_peghinelli_crouch.pdf
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author Andrea Peghinelli
author_facet Andrea Peghinelli
author_sort Andrea Peghinelli
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description When in 2012 Tim Crouch received a commission from the RSC for the World Shakespeare Festival, he wrote the fifth play of his “I, Shakespeare” series: “I, Cinna (The Poet)”. Crouch’s play works on multiple levels of agency: as it challenges the relationship between performer and audience, it also undercuts the hierarchical relationship between author and spectator. As he questions the authority of performance, Crouch exploits, at the same time, the authority of Shakespeare. “I, Cinna (The Poet)”, far from denoting opposition, makes use of the conservative quality of adaptation through which it legitimates Shakespeare’s cultural power and therefore gives stability to his established authority.
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spelling doaj.art-07544d88c1554e51b520dc0e02b27ae02023-07-05T12:52:09ZengNicola Catelli - Corrado ConfalonieriParole Rubate2039-01142023-06-011427113135“It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly VoiceAndrea Peghinelli0Sapienza Università di RomaWhen in 2012 Tim Crouch received a commission from the RSC for the World Shakespeare Festival, he wrote the fifth play of his “I, Shakespeare” series: “I, Cinna (The Poet)”. Crouch’s play works on multiple levels of agency: as it challenges the relationship between performer and audience, it also undercuts the hierarchical relationship between author and spectator. As he questions the authority of performance, Crouch exploits, at the same time, the authority of Shakespeare. “I, Cinna (The Poet)”, far from denoting opposition, makes use of the conservative quality of adaptation through which it legitimates Shakespeare’s cultural power and therefore gives stability to his established authority. http://www.parolerubate.unipr.it/fascicolo27_pdf/F27_6_peghinelli_crouch.pdfwilliam shakespearetim crouchadaptationappropriationcultural authority
spellingShingle Andrea Peghinelli
“It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly Voice
Parole Rubate
william shakespeare
tim crouch
adaptation
appropriation
cultural authority
title “It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly Voice
title_full “It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly Voice
title_fullStr “It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly Voice
title_full_unstemmed “It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly Voice
title_short “It must be by his death”: “I, Cinna (The Poet)” and the Appropriation of Shakespeare’s Ghostly Voice
title_sort it must be by his death i cinna the poet and the appropriation of shakespeare s ghostly voice
topic william shakespeare
tim crouch
adaptation
appropriation
cultural authority
url http://www.parolerubate.unipr.it/fascicolo27_pdf/F27_6_peghinelli_crouch.pdf
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