Ivo van Hove : From Shakespeare to David Bowie
- Submitting institution
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King's College London
- Unit of assessment
- 27 - English Language and Literature
- Output identifier
- 133437403
- Type
- B - Edited book
- DOI
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10.5040/9781350031562
- Publisher
- Bloomsbury
- ISBN
- 9781350031548
- Open access status
- -
- Month of publication
- July
- Year of publication
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- This collection would not have been possible outside the context of my personal, long-standing working relation with internationally renowned theatre director Ivo van Hove, which in turn stems from van Hove’s appreciation of the quality of my research on Shakespeare in contemporary performance and my commitment to bringing non-English Shakespeares to the attention of the scholarly community.
I first met van Hove in 2009 at a platform that followed the opening of his ground-breaking production of Roman Tragedies at Barbican that year. I invited him to speak at King’s College London in 2010 and I was then invited to moderate a panel with Ivo, RSC director Deborah Shaw and pioneering producer Thelma Holt at Barbican in 2012. In 2016, I arranged a meeting with Ivo in Amsterdam, so that my co-editor and I could explain our plan to edit the first collection of essays to cover his lifework in all the art forms he has mastered to date, namely theatre, opera and film.
At that meeting, van Hove offered us unlimited access to the archives of his company, International Toneelgroep Amsterdam (ITA), and to his closest collaborators: set designer Jan Versweyveld, ITA actors and actors he has worked with, including Halina Reijn, and his “second-in-command” ITA co-director Wouter van Ransbeek. Van Hove also offered us previously unpublished Director’s Notes, which provide unprecedented access into his directorial work and methods.
Also unprecedented and unmatched is the range of contributors my co-editor and I sought out for this collection, from theatre producers at world-leading theatrical institutions (Joe Melillo, BAM, and Toni Racklin, Barbican) to theatre critics (Mark Lawson, Guardian, and Kate Bassett, Independent), from creatives who have collaborated with Ivo outside ITA (Maja Zade, dramaturg at the Schaubühne, Berlin) to leading experts in other fields (opera scholars François Jongen and Frédéric Maurin).
- Author contribution statement
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- Non-English
- No
- English abstract
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