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Humanities 2019, 8(1), 42; https://doi.org/10.3390/h8010042

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
Received: 28 January 2019 / Revised: 20 February 2019 / Accepted: 23 February 2019 / Published: 1 March 2019
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Abstract

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
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).
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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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