View this post on Instagram Coming from a background in Shakespearean performance and with a strong interest in Early Modern Drama and Performance Studies, I find that I get most excited about translating and adapting early modern texts for the stage. I’m fascinated by the ways in which artists, writers, and performers use textual, auditory, and performative forms to convey alternative versions of the same story. Last spring, while working as the dramaturg on Skidmore College’s production of Julius Caesar, I used formalist theories to explore the various affordances offered by theatrical drama and radio dramas in relation to Orson Welles’ 1937 production of Caesar with the Mercury Theater. You can read more about my work on this production in an article I wrote for the Skidmore Theatre Living Newsletter https://theater.skidmore.edu/2018/04/julius-caesar-a-dramaturgs-perspective/ #ECDspotlight Katie Jacobsen (@kjakes) is a Pennsylvania based ECD. A post shared by LMDA (@lmdamericas) on Jan 21, 2019 at 11:13am PST
Coming from a background in Shakespearean performance and with a strong interest in Early Modern Drama and Performance Studies, I find that I get most excited about translating and adapting early modern texts for the stage. I’m fascinated by the ways in which artists, writers, and performers use textual, auditory, and performative forms to convey alternative versions of the same story. Last spring, while working as the dramaturg on Skidmore College’s production of Julius Caesar, I used formalist theories to explore the various affordances offered by theatrical drama and radio dramas in relation to Orson Welles’ 1937 production of Caesar with the Mercury Theater. You can read more about my work on this production in an article I wrote for the Skidmore Theatre Living Newsletter https://theater.skidmore.edu/2018/04/julius-caesar-a-dramaturgs-perspective/ #ECDspotlight Katie Jacobsen (@kjakes) is a Pennsylvania based ECD.
A post shared by LMDA (@lmdamericas) on Jan 21, 2019 at 11:13am PST