Publications: Prof Bridget Escolme
Escolme B
(
2020
)
.
Shakespeare and Costume in Practice
.
Springer Nature
ESCOLME BM
(
2018
)
.
Public Eye and Private Place: Intimacy and Metatheatre in Pericles and The Tempest
.
Shakespeare Bulletin111
-
128
.
Escolme B
(
2018
)
.
Shakespeare and the Contemporary: Psychology, Culture, and Audience in Othello Production
.
The Oxford Handbook of Shakespeare and Performance
,
Oxford University Press
Escolme B
(
2014
)
.
The duchess of Malfi, the knight of the burning pestle, and the malcontent: Shakespeare's globe, January-April 2014
.
Shakespeare Quarterly
vol.
65
,
(
2
)
209
-
218
.
ESCOLME B
(
2014
)
.
Ophelia Confined: Madness and Infantilisation in Some Versions of Hamlet
.
Madness, Performance, Psychiatry: Isolated Acts
,
Editors:
Harpin, A, Foster, J
,
Palgrave Macmillan
Escolme B
(
2013
)
.
Emotional Excess on the Shakespearean Stage: Passion's Slaves
.
Arden Shakespeare
ESCOLME BM
(
2012
)
.
Costume
.
Shakespeare and the Making of Theatre
,
Editors:
Hampton-Reeves, S, Escolme, B
,
Palgrave Macmillan
Escolme B
(
2012
)
.
Decentring Shakespeare: A hope for future connections
.
ESCOLME BM
(
2012
)
.
Gendered Neurosis on Stage and Screen: Fiona Shaw’s Richard II
.
Richard II: New Critical Essays
,
Routledge
ESCOLME BM
(
2010
)
.
Being Good: Actors’ Testimonies as Archive and the Cultural Construction of Success in Performance
.
Shakespeare Bulletin: a journal of performance, criticism, and scholarship
vol.
28
,
(
1
)
77
-
91
.
ESCOLME BM
(
2010
)
.
Shakespeare and Our Contemporaries
.
New Directions in Renaissance Drama and Performance Studies
,
Editors:
Werner, S
,
Palgrave Macmillan
(
New York
),
ESCOLME BM
(
2007
)
.
Living Monuments: The Spatial Politics of Shakespeare's Rome on the Contemporary Stage
.
Shakespeare Survey
vol.
60
,
170
-
183
.
ESCOLME BM
(
2006
)
.
Authority, Empowerment and Fairy Tales: Theatre for Young People
.
Contemporary Theatres in Europe: A Critical Companion
,
Editors:
Kelleher, J, Ridout, N
,
Routledge
(
London
),
ESCOLME BM
(
2006
)
.
The Essential Year
.
Contemporary Theatre Review
vol.
16
,
(
3
)
ESCOLME BM
(
2006
)
.
The Shakespeare Handbooks: Antony and Cleopatra
.
Palgrave Macmillan
(
Basingstoke
),
Escolme B
(
2005
)
.
The complete works, the greatest dramatist, the essential year: The RSC's Complete Works season previewed
.
CONTEMP THEATRE REV
vol.
15
,
(
4
)
489
-
490
.
ESCOLME BM
(
2005
)
.
Making Things Difficult: Anne Bogart and W B Worthen
.
Shakespeare, Language and the Stage: The Fifth Wall: Approaches to Shakespeare from Criticism, Performance and Theatre Studies
,
Editors:
Hunter, L, Lichtenfels, P
,
Thomson: Arden Shakespeare
(
London
),
ESCOLME BM
(
2005
)
.
Talking to the Audience: Shakespeare, Performance, Self
.
Routledge
(
London & New York
),
ESCOLME BM, Kenny M, Haddon A, Cooper M, Catley M, Boon R
(
2003
)
.
Blah Blah Blah: Taking Issue, Three Playwrights and a Theatre Company
.
Alumnus
(
Leeds
),
ESCOLME BM
(
2002
)
.
Hamlet: West Yorkshire Playhouse, Dramaturgy Project
.
West Yorkshire Playhouse
,
Notes:
This project involved my employment as Dramaturg on the West Yorkshire Playhouse’s production of Hamlet, directed by Ian Brown. My research imperative was to explore the potential relationships between performer and audience in the play, and the ways in which classically trained British actors, might be introduced to an approach to Shakespeare production that privileged meta-theatricality over character study. The project developed practices I had explored through ‘Hamlet: A Performance Research
,
ESCOLME BM
(
2002
)
.
Measure for Measure: A Performance Research Project
.
Leeds, Amsterdam
,
Notes:
This project was an exploration of the relationship between performer and audience in Shakespeare’s Measure for Measure, its sources and adaptations. It comprised a series of workshops with Leeds theatre practitioners, including members of Unlimited Theatre, and staff and students from the University of Leeds. The workshops developed a process for the comparison of gestic and naturalistic approaches to performance, and was part of the AHRC Research Fellowship in the Creative and Performing Arts
,