For additional context about the performance above, read this review on the production, or search online for others.
Reading: Shakespeare, Sonnet 20
For discussion on the quantitative perspective of literature made possible through modern computing, read Literature in a Digital Age, Chapter 5 (pp. 82-130)
Finally, briefly explore at the following links on A Midsummer Night’s Dreaming:
This week we’ll continue exploring Shakespeare’s A Midsummer Night’s Dream to examine what possibilities the digital age might hold for re-envisioning existing literature, and drama in particular, by way of digital media. In this case, we’ll be exploring a couple individual performances (that all performances are singular is one of drama’s key differentiations from other forms of literature). One was brought to fruition through a partnership between the Royal Shakespeare Company and Google. This endeavor, which was staged over the course of a weekend (midsummer weekend–when else?) in 2013, incorporated a site-specific performance of the play over the course of 3 days with a digital stage where social media content was posted for an online audience (some of whom attended the play in Stratford, England, and some who encountered the performance only through its reporting online) who also participated by creating their own content to respond to the event. This event was made possible through the use of what is colloquially known as web 2.0 technologies. Web 2.0 signals an expansion of the world wide web from static web pages (like those found in Shelley Jackson’s My Body) to spaces where readers not only read but also comment on webpages, not only visit sites but also set up their own accounts to publish material. All of you who have been publishing on your blog since the beginning of the course have been using web 2.0 technologies. Web 2.0 also includes crowd-sourced knowledge bases like Wikipedia, social networking sites like Facebook, and Twitter.