"All the web is a stage": Twittoperas, or Shakespeare Shorter than Ever
DOI:
https://doi.org/10.37536/preh.2013.1.2.637Keywords:
Shakespeare, Twitter, cross-media, Performance, Appropriation, Digital Theatre, Social Network, Cross-MediaAbstract
This article examines the importance of social networks in the creation of new theatrical forms, focusing on two multimedia "twittoperas" based on Shakespeare's Romeo and Juliet: the Royal Shakespeare Company's Such Sweet Sorrow (2010) and Chévere theatre company's Amores Prohibidos 2.0 (Forbidden Love 2.0) from 2012. Both works are analysed in terms of a possible "Script Acts Theory," which centers on the tension between a pre-performance script and a high degree of performative unpredictability.
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