The shifts in how Shakespeare has been consumed and distributed from early 19th century to today in the 21st century has been made possible through various aspects of social culture. These shift can be explained though three different approaches to how culture is consumed and produced. This paper will focus of comparing and contrasting two of them in analysis of the shift of Shakespeare. The two approaches this paper will focus on are art worlds and the production of culture perspective. This paper will first look at the conventions of Shakespeare as art in pop culture, then it will look at the different spheres that shaped Shakespeare from popular culture to an exclusive sacralized form of art in the way it is consumed and performed.
Before …show more content…
Shakespeare is widely defined as an artist but how his works have been performed have not always been well defined. Different productions of Shakespeare were readily available to the masses from a street merchant traveling and reciting lines from Shakespeare by heart to full productions in theater spaces (Levine, 1980). This unregulated independently existing performance. There was not gate keeping taking place for the production of Shakespeare’s works. Gatekeeping is who controls the art world in that it is the process of saying who is an artist and what is are as well as making critics words matter for the consumption and production of art. The gatekeeper has a say who is being defined as an artist and what productions are considered art. This does not come about for Shakespeare’s works and production until the middle to late 19th century. Experts in the field or what became to be considered experts such as educated intellectuals and “professional” actors were the gatekeepers for the art of Shakespeare. Producers, artists, and support personnel are transformed by gatekeepers. In the case of gallery art the dealer is the gatekeeper. The dealer acts as a reinforcement for an artist, they persuade museums, patrons and critics to see an artist work as art (Simpson, 1980). This gives them an important role in the transformation of popular culture art to a sacralized viewpoint of that art. Before this gatekeeping …show more content…
This is similar to training and education in art worlds. People within the cultural sphere of acting have a set of values that are shared among other actors and same with producers and support personnel. These sphere are made up of the professional and the intellectual. For example in the transformation of Shakespeare these occupational career holder became key roles in the reception and production of plays. A random street merchant could no longer perform Shakespeare for quick cash because they were now excluded from the cultural sphere of performance, they were seen as not educated enough to understand the meaning of Shakespeare. This was due to the new organizational structure of performing and producing
Before …show more content…
Shakespeare is widely defined as an artist but how his works have been performed have not always been well defined. Different productions of Shakespeare were readily available to the masses from a street merchant traveling and reciting lines from Shakespeare by heart to full productions in theater spaces (Levine, 1980). This unregulated independently existing performance. There was not gate keeping taking place for the production of Shakespeare’s works. Gatekeeping is who controls the art world in that it is the process of saying who is an artist and what is are as well as making critics words matter for the consumption and production of art. The gatekeeper has a say who is being defined as an artist and what productions are considered art. This does not come about for Shakespeare’s works and production until the middle to late 19th century. Experts in the field or what became to be considered experts such as educated intellectuals and “professional” actors were the gatekeepers for the art of Shakespeare. Producers, artists, and support personnel are transformed by gatekeepers. In the case of gallery art the dealer is the gatekeeper. The dealer acts as a reinforcement for an artist, they persuade museums, patrons and critics to see an artist work as art (Simpson, 1980). This gives them an important role in the transformation of popular culture art to a sacralized viewpoint of that art. Before this gatekeeping …show more content…
This is similar to training and education in art worlds. People within the cultural sphere of acting have a set of values that are shared among other actors and same with producers and support personnel. These sphere are made up of the professional and the intellectual. For example in the transformation of Shakespeare these occupational career holder became key roles in the reception and production of plays. A random street merchant could no longer perform Shakespeare for quick cash because they were now excluded from the cultural sphere of performance, they were seen as not educated enough to understand the meaning of Shakespeare. This was due to the new organizational structure of performing and producing