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Innovating Shakespeare: The Politics of Technological Partnership in the Royal Shakespeare Company’s The Tempest (2016)

Department of Drama, Queen Mary University of London, London E1 4NS, UK
Humanities 2019, 8(1), 42; https://doi.org/10.3390/h8010042
Received: 28 January 2019 / Revised: 20 February 2019 / Accepted: 23 February 2019 / Published: 1 March 2019
This article examines the Royal Shakespeare Company’s (RSC) recent focus on digital ‘innovation’ by analysing the relationship between their emerging digital-focused business practices and digital performance practice for The Tempest (2016). To assess this relationship, I first review the socioeconomic context of 21st century neoliberal UK economic policy that encourages arts organisations such as the RSC to participate in innovative digital production practices. I follow with a definition and deconstruction of ‘innovation’ as a key term in UK economic policy. I then demonstrate how the RSC has strategically become involved in innovation practices throughout the 2010s. I will then analyse the digital, motion-capture performance practices the RSC developed in partnership with Intel and motion-capture studio The Imaginarium for The Tempest. In doing so, I will demonstrate that The Tempest serves to legitimise the RSC’s status as a competitor and collaborator in the wider digital economy. View Full-Text
Keywords: Shakespeare; innovation; live motion-capture; digital economy; Royal Shakespeare Company Shakespeare; innovation; live motion-capture; digital economy; Royal Shakespeare Company
MDPI and ACS Style

Borsuk, A. Innovating Shakespeare: The Politics of Technological Partnership in the Royal Shakespeare Company’s The Tempest (2016). Humanities 2019, 8, 42.

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