Table of Contents

List of Illustrations Colour Plates Notes on Contributors Foreword, "My Life in Theatre" by Ivo van Hove Acknowledgements Introduction Section One: Directing the Classics Section Two: The Festival Performances of Ivo van Hove and Toneelgroep Amsterdam Section Three: American Theatre Section Four: Opera across Europe Section Five: Creation, Adaptation, Direction Selected Further Reading Notes Bibliography Index

Promotional Information

The first full survey of Ivo van Hove’s internationally acclaimed work to date, ranging across different art forms and practices - from theatre to opera, from musicals to film, from ensemble theatre directing to international collaborations and festival curatorship.

About the Author

Susan Bennett is University Professor in the Department of English at the University of Calgary, Canada. Her books include Theatre Audiences (1997), Performing Nostalgia (1996) and Theatre & Museums (2013). Recent edited collections are Shakespeare Beyond English (co-edited with Christie Carson, 2013) and Performing Environments: Site-Specificity in Medieval & Early Modern Drama (co-edited with Mary Polito, 2014). She is series editor, with Kim Solga, for Theory for Theatre Studies (Bloomsbury Methuen Drama). Sonia Massai is Professor of Shakespeare Studies in the English Department at King's College London, UK. Her publications include her book, Shakespeare and the Rise of the Editor (2007), and World-Wide Shakespeares: Local Appropriations in Film and Performance (2005), and critical editions of The Paratexts in English Printed Drama to 1642 ( 2014) and John Ford's Tis Pity She's a Whore for Arden Early Modern Drama (2011).

Reviews

Fascinating insights into the breadth, diversity, evolution, and significance of van Hove’s work.
*Shakespeare Quarterly*

The subtitle of Ivo van Hove: From Shakespeare to David Bowie suggests how widely [van Hove] has ranged to create theatre synthesizing realism and stylization to stimulate audiences into seeing classics of every kind with fresh eyes. And that subtitle doesn’t entirely capture the full range on display in this informative new collection assembled by theatre scholars Susan Bennett and Sonia Massai.
*American Theatre*