Shakespeare in the Theatre: Cheek by Jowl

Cheek by Jowl, founded by Declan Donnellan and Nick Ormerod in 1981, is one of the world's most critically acclaimed classical theatre companies. Across seventeen productions of Shakespeare (as well as several by his contemporaries and other European dramatists), Cheek by Jowl's experiments with text, space, light and bodies have produced bold reinventions of canonical and lesser-explored plays. Despite the pre-eminence of the company, its multiple awards and central place in the European repertory, this is the first substantive study of the company's body of work.
This book situates Cheek by Jowl's work within the key institutions and traditions that have shaped the company's development from low-budget beginnings at the Edinburgh Festival to international celebration, while also focusing specifically on the company's use of Shakespeare to drive forward its practice. Drawing on the company's work in English, Russian and French, the book uses key productions as case studies to interrogate the company's unique style and build an argument for the distinctive insights offered by Cheek by Jowl's approach.
The book draws on new interviews with creative and administrative company members from the full span of Cheek by Jowl's history as well as a full appraisal of the Cheek by Jowl archives, offering the first scholarly overview of the company's work.

Peter Kirwan is Associate Professor in Early Modern Drama at the University of Nottingham, UK. His recent books include Shakespeare and the Idea of Apocrypha (2015) and Canonising Shakespeare: Stationers and the Book Trade, 1640-1740 (with Emma Depledge, 2017).

List of illustrations
Series Preface
Acknowledgements
Introduction
1. Shakespeare of Roscommon: Tracing a Cheek by Jowl Production
The Winter's Tale (2016-17) and Lady Betty (1989)
2. Touching the Void: Bodies and Space
Macbeth (2009-11) and The Duchess of Malfi (1995-6)
3. 'If I were a woman': The All-Male Ensemble
Twelfth Night (2003-) and As You Like It (1991-5)
4. Cutting and Cross-Cutting: Filmic Space and the Text
Cymbeline (2007) and The Tempest (2011-)
5. Conceptual Rooms: Designing Not-Shakespeare
'Tis Pity She's a Whore (2011-14) and Ubu Roi (2013-15)
6. Empathy and Loneliness
Much Ado about Nothing (1998) and Measure for Measure (2013-)
Conclusion: Evolutions
Appendix
Notes
References
Index