https://journals.uvic.ca/index.php/scene <p><em>Scene&nbsp;</em>publishes <strong>review essays</strong> about early modern English drama in performance, <strong>reviews</strong> of productions and adaptations of early modern plays, <strong>book reviews</strong>, <strong>film reviews</strong>, and <strong>production notes</strong>. Our scope is mainstream professional productions, as well as university, drama school, and non-professional productions.</p> en-US <p>Contributors retain the copyright of the text of their contributions. Any images contained therein are subject to the copyright specifications of their respective creators. <em>Scene</em>'s paratextual materials are freely available for quotation and reuse, with credit given to&nbsp;<em>Scene</em>.</p> reviews@uvic.ca (Kevin A Quarmby) SREMDmanager@uvic.ca (Janelle Jenstad) Sun, 27 Mar 2022 10:24:30 -0700 OJS 3.1.2.4 http://blogs.law.harvard.edu/tech/rss 60 https://journals.uvic.ca/index.php/scene/article/view/20640 Sarah Dustagheer Copyright (c) 2022 Sarah Dustagheer https://creativecommons.org/licenses/by-nc-nd/4.0 https://journals.uvic.ca/index.php/scene/article/view/20640 Sun, 27 Mar 2022 10:20:44 -0700 https://journals.uvic.ca/index.php/scene/article/view/19800 <p>A review of the live virtual production of <em>King Lear</em>, presented by the San Francisco Shakespeare Festival for their "Shakespeare at Home" season 2020. Freely available to all via YouTube, this production featured actors performing the play in multiple and individual locations, the socially-distanced imperative facilitated by Zoom and Open Broadcaster Software technology to create a performance in "real-time" that captured the spirit of living theatre, while keeping all involved safe and gainfully employed.</p> Kevin A. Quarmby Copyright (c) 2022 Kevin A. Quarmby https://creativecommons.org/licenses/by-nc-nd/4.0 https://journals.uvic.ca/index.php/scene/article/view/19800 Sun, 27 Mar 2022 10:25:47 -0700