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Journal articles on the topic 'Shakespearean studies'
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1
Huertas-Martín, Víctor. "Hamlet Goes Legit." International Journal of English Studies 22, no. 1 (June 30, 2022): 41–61. http://dx.doi.org/10.6018/ijes.490781.
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Using Shakespeare’s criticism and archival theory as lenses, this article enlarges understandings of the interconnections between a complex television series and Shakespeare. Forming a Shakespearean archive, Sons of Anarchy (SOA), based on Hamlet and other plays by Shakespeare, is packed with Shakespearean allusions, rather than citations, whose impact in the overall work is yet to be explored. Shakespearean formations, identifiable in the series’ para-texts, episodes, and transmedia materials, add political weight to SOA. This intertextuality invites us to regard Shakespeare’s influence in complex television as transformative.
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Захаров, Н. В. "The Thesaurus Approach to Shakespearean Studies." Иностранные языки в высшей школе, no. 3(58) (November 15, 2021): 13–24. http://dx.doi.org/10.37724/rsu.2021.58.3.002.
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Изучение творчества Шекспира в парадигме междисциплинарности является актуальной задачей. Тезаурусный подход исследований Шекспира и его современников позволяет сосредоточиться на междисциплинарном изучении шекспировского творчества. В статье анализируются основные направления шекспировских исследований, которые давно вышли за пределы англоязычной культуры. Во многих университетах мира изучают не только литературу позднего Ренессанса, эволюцию шекспировской поэтики, шекспировские реминисценции в национальных литературах, но и другие, казалось бы далеко стоящие от художественной литературы явления. Важными в научной и преподавательской деятельности стали исследования, ориентированные на философское прочтение творчества великого драматурга. Новые возможности открывают Интернет и цифровые технологии. Тезаурусный подход в современной гуманитаристике должен трансформироваться и стать методом анализа концептов и концептосфер, которые образуют тезаурусы. Как инструмент познания, метод способствует формированию полноты и глубины знания в междисциплинарных исследованиях. Каждый их сегмент открывает шекспировскую семантику культурных констант, объединяющих человечество и расширяющих тезаурус мировой культуры, не только национальный, но и мировой тезаурус творчества Шекспира. The background for Shakespearean studies gains importance in an interdisciplinary context. The thesaurus approach of studying Shakespeare, his contemporaries, and the daily life of his epoch helps to concentrate on the aspect of interdisciplinary studies of Shakespeare's creative works. Following this task, the author of the article researches the key areas of Shakespearean studies. Today, Shakespeare is not only the genius of Anglo-Saxon literature, but also one of the pillars of Anglo-American educational system both at school and at university. Shakespearean studies have long gone beyond the framework of the English-speaking cultures. Turning to Shakespeare, researchers of the largest educational centers of the world study not only the literature of the late Renaissance period, the evolution of Shakespearean poetics in the context of world culture, Shakespearean allusions in national literatures, not only the development of dramaturgy, the history of the theatre, music, the cinema, but also other disciplines seemingly unconnected to the world artistic culture. The research oriented at philosophical understanding of the great playwright's work has gained special significance for scientific and teaching activity. Studying Shakespeare's work in the 21st Century is closely connected to the Internet and information technologies. In a sense, the thesaurus approach in modern humanities should be transformed and become a method of analyzing the concepts and conceptospheres that form thesauri.
3
Desmet, Christy. "Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 15–26. http://dx.doi.org/10.1515/mstap-2017-0002.
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This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of crosscultural Shakespeare lies in the interpreter’s agency.
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Lewis, Seth. "The Myth of Total Shakespeare: Filmic Adaptation and Posthuman Collaboration." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 53–69. http://dx.doi.org/10.18778/2083-8530.24.04.
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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.
5
Alhawamdeh, Hussein A. "‘Shakespeare Had the Passion of an Arab’." Critical Survey 30, no. 4 (December 1, 2018): 1–21. http://dx.doi.org/10.3167/cs.2018.300402.
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This article analyses the Shakespearean appropriation in Fadia Faqir’s Willow Trees Don’t Weep (2014) to show how Faqir’s novel establishes a new Arab Jordanian feminist trope of the willow tree, metaphorically embodied in the female character of Najwa, who does not surrender to the atrocities of the masculine discourse. Faqir’s novel, appropriating a direct text from Shakespeare’s Cymbeline and an allusion to Shakespeare’s Othello, does not praise the Bard but dismantles the Shakespearean dramatization of the submissive woman. In this article, I claim that Faqir’s Willow Trees warns against mimicking the Bard’s feminine models and offers a liberating space or a local ‘alternative wisdom and beauty’, in Ania Loomba’s expression, and a ‘challenge’, in Graham Holderness’s terminology, to Shakespeare. In Faqir’s novel, Shakespeare has been ‘Arabized’, in Ferial Ghazoul’s words, to revise and redefine new roles of the Arab Jordanian woman.
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Zhang, Wei. "The Development of Marxist Shakespearean Criticism in China." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 99–113. http://dx.doi.org/10.18778/2083-8530.20.08.
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Chinese Shakespearean criticism from Marxist perspectives is highly original in Chinese Shakespeare studies. Scholars such as Mao Dun, Yang Hui, Zhao Li, Fang Ping, Yang Zhouhan, Bian Zhilin, Meng Xianqiang, Sun Jiaxiu, Zhang Siyang and Wang Yuanhua adopt the basic principles and methods of Marxism to elaborate on Shakespeare’s works and have made great achievements. With ideas changed in different political climates, they have engaged in Shakespeare studies for over eight decades since the 1930s. At the beginning of the revolutionary age, they advocated revolutionary literature, followed Russian Shakespearean criticism from the Marxist perspective, and established the mode of class analysis and highlighted realism. Before and after the Cultural Revolution, they were concerned about class, reality and people. They also showed the “left-wing” inclination, taking literature as a tool to serve politics. Since the 1980s, they have been free from politics and entered the pure academic realm, analysing Shakespearean dramas with Marxist aesthetic theories and transforming from sociological criticism to literary criticism.
7
Guerrero, Isabel. "Shakespeare in La Mancha: Performing Shakespeare at the Almagro Corral." Sederi, no. 27 (2017): 27–46. http://dx.doi.org/10.34136/sederi.2017.2.
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Shakespeare is one of the most often performed playwrights at the Festival de Teatro Clásico de Almagro [The Almagro Festival of Classical Theater], an event initially created to celebrate Golden Age drama in which, nowadays, Shakespearean productions often outnumber those by individual national authors. Throughout the history of the festival, several Shakespearean productions have been staged in the Corral de Comedias, an original seventeenth-century venue that reactivates the use of space encoded in the playtext due to its similarities with Renaissance playhouses. This article has a double purpose: first, to examine the abundance of Shakespeare in Almagro as a phenomenon that finds its explanation in factors ranging from Shakespeare’s popularity to the role of modern translation and, second, to focus on how Shakespearean productions at the Corral de Comedias have negotiated new meanings of Shakespeare in performance, generating an interplay between Renaissance and Golden Age venues in contemporary performance.
8
Massai, Sonia. "Stage over Study: Charles Marowitz, Edward Bond, and Recent Materialist Approaches to Shakespeare." New Theatre Quarterly 15, no. 3 (August 1999): 247–55. http://dx.doi.org/10.1017/s0266464x0001304x.
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The flurry of Shakespearean adaptations in the 1960s and 1970s represents a significant yet largely neglected chapter of recent cultural history. This article assesses two of the more enduring adaptations – Edward Bond's Lear (Royal Court Theatre, 1971) and Charles Marowitz's Measure for Measure (Open Space Theatre, 1975) – in order to show how these controversial texts anticipated later mainstream critical approaches which still affect our reception of Shakespeare in the late 1990s. Several parallels between Marowitz and Bond's adaptations and recent materialist readings of their Shakespearean sources suggest that the adaptors anticipated the critics, and that both sought meaning from their Shakespearean originals by focusing on certain aspects of the text and by disregarding others. By demonstrating that whilst Marowitz and Bond's adaptations should best be regarded as a form of stage-centred criticism, Sonia Massai suggests that literary critical approaches inevitably reflect an arbitrary and historically determined appropriation of the Shakespearean original. Sonia Massai is a Lecturer in English Studies at St. Mary's, Strawberry Hill, a College of the University of Surrey. She has published articles on Shakespearean adaptations in Studies in English Literature, Analytical and Enumerative Bibliography, and in a special issue of Textus: English Studies in Italy. She is currently collaborating with Jacques Berthoud on the New Penguin edition of Shakespeare's Titus Andronicus.
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García-Periago, Rosa M. "The re-birth of Shakespeare in India: celebrating and Indianizing the Bard in 1964." Sederi, no. 22 (2012): 51–68. http://dx.doi.org/10.34136/sederi.2012.3.
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While the Tercentenary of Shakespeare’s death (1916) was hardly celebrated in India and marked the beginning of a period in which Shakespeare was hidden, the Quartercentenary of his birth (1964) spawned a large number of collections, theatre performances and even exhibitions to pay homage to the Bard. Although a special issue of the journal Indian Literature published in 1964 contributed to the re-emergence of Shakespeare, the most revolutionary projects in the making of a vernacular Shakespeare occurred on the Indian stage via Utpal Dutt’s Shakespearean productions in Bengali. Following Arjun Appadurai, this paper argues that Utpal Dutt’s Bengali theatre productions in 1964 participate in a “decolonization” of Shakespeare, consisting in liberating Shakespeare “the text” and Shakespeare “the author” from the bonds of the empire, from restrictive colonial associations. Two out of his three theatre performances produced in 1964 – Romeo and Juliet and Julius Caesar – are symptomatic of the effects of “glocalizing” the Shakespearean texts since the original place names and names of the characters are combined with the Bengali language and some unavoidable localization. Thus, Shakespeare’s Quartercentenary in India not only saw the re-emergence of the Bard, but also took its first steps in his indigenization.
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Holland, Peter. ""A Kind of Character in thy Life": Shakespeare and the Character of History." Sederi, no. 23 (2013): 7–31. http://dx.doi.org/10.34136/sederi.2013.1.
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This article explores the early modern concept of “character” – and Shakespeare’s use of the word – as a way to rethink the nature of Shakespearean biography. Through the material of evidence of Shakespeare’s character, his writing, I turn to the figuring of “history” in Shakespeare’s plays, the writing of letters (leaving traces of characters as writing), before finally imaging a different kind of Shakespeare biography.
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Reuss, Gabriella. "The chair leg and the stadium." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 11, 2018): 185–200. http://dx.doi.org/10.1177/0184767818767449.
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To contribute to the colourful palette of Europe’s noteworthy contemporary Shakespeares, this article analyses the unique approach to Shakespeare of the Hungarian director László Bagossy through case studies of two productions, The Tempest (2012) and Hamlet (2014). Bagossy’s Shakespearean productions peeled method acting off from Shakespeare for good and effectively demonstrated how a change in performance traditions (distancing, operatic, realist) can initiate a novel handling and reading of the familiar classics.
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Chatterjee, Arup K. "Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 59–74. http://dx.doi.org/10.18778/2083-8530.23.04.
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This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records (like Virginia Woolf’s invention Judith Shakespeare vanishing in Shakespeare’s London); and the forgotten John Talbot Shakespear, a Company official in early nineteenth-century Bengal and descendant of William Shakespeare. I argue that the anecdotal links between Peter, Caliban, Catherine, Judith, Shakespear and Shakespeare should be seen as Jungian effects of non-causal “synchronic” reality or on lines of Benoit Mandelbrot’s conception of fractals (rough and self-regulating geometries of natural microforms). Although anecdotes and historemes get incorporated into historical establishmentarianism, seeing history in a framework of fractals fundamentally resists such appropriations. This poses new challenges for Shakespearean historiography, while underscoring distinctions between Shakespeareanism (sociological epiphenomena) and Shakespeare (the man himself).
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Fayard, Nicole. "Introduction: Shakespeare and/in Europe: Connecting Voices." Multicultural Shakespeare: Translation, Appropriation and Performance 19, no. 34 (June 30, 2019): 9–30. http://dx.doi.org/10.18778/2083-8530.19.01.
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Recent Shakespearean productions, just like current European crises, have highlighted the exclusionary nature of European identity. In defining the scope of this special issue, the aim of this introduction is to shift the study of Shakespeare in/and Europe away from the ideological field of “unity within diversity” and its attendant politics of negotiation and mediation. Instead, it investigates whether re-situating Shakespearean analysis within regimes of exclusionary politics and group conflict attitudes helps to generate dynamic cultural and social understandings. To what effect is Shakespeare’s work invoked in relation with the tensions inherent in European societies? Can such invocations encourage reflections on Europe as a social, political and/or cultural entity? Is it possible to conceptualize Shakespearean drama as offering an effective instrument that connects―or not―the voices of the people of Europe?
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Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.
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This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
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Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.
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This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
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Rayner, Francesca. "Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 27–41. http://dx.doi.org/10.1515/mstap-2017-0003.
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This article addresses the key role of performance space in mediating between cultural locations. It discusses two Portuguese performances of Shakespeare where audiences were invited to become part of the performance and the ways in which this dehierarchization of the performance space framed a cross-cultural encounter between a globalized text and a localized performance context. In Teatro Oficina’s 2012 King Lear, both audience and performers sat around a large table in a production which reflected upon questions of individual and collective responsibility in Shakespearean tragedy and in the wider political sphere. In the middle of this performance space hung a large cube onto which the translated text was projected, setting up a spatial tension between text and performance that also foregrounded the translocation of the Shakespearean text to a Portuguese performance context. In Tiago Rodrigues’ 2013 By Heart, ten members of the audience were invited onstage to learn Shakespeare’s Sonnet 30 “by heart and not by brain.”1 In doing so, Rodrigues emphasized the cultural embeddedness of Shakespearean texts in a wider European cultural context and operated a subtle shift from texts to performance as a privileged repository for the cultural memory of Shakespeare. The article explores how these spatial shifts signaled the possibility of enabling cross-cultural identifications with Shakespeare through performance.
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Egan, Gabriel. "Shakespeare and Marx, the writer and the society.Translated by E. Koltaevskaya." Voprosy literatury, no. 6 (December 20, 2019): 176–95. http://dx.doi.org/10.31425/0042-8795-2019-6-176-195.
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The work touches on the popular concept of the relationship between society and the writing process, suggesting the relevance of certain ideas stemming from Karl Marx for the study of the Shakespearean legacy. Marx’s idea that creative potential shines at its best in society, and that personal freedom emerges through interconnectedness of individuals, rings new and up to date in the modern world and for Shakespearean studies in particular. Through examples taken from Shakespeare’s plays and examination of professional organization of literary research in the form of academic journals and international associations, this paper argues that the Marxist image of society helps to consider literary creativity from a new viewpoint. Invoking the latest discoveries in the feld of Shakespeare biography and professional practices, especially his extensive collaboration with other playwrights, the article demonstrates how ideas of the two great thinkers and writers, Shakespeare and Marx, interact in the sphere of the best contemporary literary-critical practices.
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Refskou, Anne Sophie. "Whose Castle is it Anyway?: Local/Global Negotiations of a Shakespearean Location." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 121–32. http://dx.doi.org/10.1515/mstap-2017-0009.
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Kronborg Castle in the Danish town of Elsinore is a location strongly associated with Shakespeare thanks to the setting of Hamlet. It is a place where fiction currently eclipses history, at least in the context of a cultural tourist industry where Shakespeare’s name is worth a great deal more than Danish national heritage sites. Indeed, Kronborg is now widely marketed as ‘Hamlet’s Castle’ and the town of Elsinore has acquired the suffix ‘Home of Hamlet’. This article examines the signifiers implied in the naming and renaming of Kronborg as a Shakespearean location, while also looking at its unique international Shakespearean performance tradition, which spans two centuries. It describes how the identity of the castle has been shaped by its Shakespearean connection against the backdrop of changing ideologies in the twentieth and twenty-first centuries, and poses questions as to how this identity may continue to develop within the current contexts of renewed nationalism in Europe and the world.
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KHOURY, YVETTE K. "Akhir Yom (The Last Day): A Localized Arabic Adaptation of Shakespeare's Romeo and Juliet." Theatre Research International 33, no. 1 (March 2008): 52–69. http://dx.doi.org/10.1017/s0307883307003392.
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This paper is an exploration of the 2004 Arabic adaptation of Shakespeare's Romeo and Juliet, which premiered in Casino du Liban in Beirut. The Last Day was created by Oussama al-Rahbani, who also composed the musical scores. The play shows how local Shakespeares resonate with the wider global field of study, which in turn echo East–West cultural interactions. The Last Day challenges our perception of the Other in Arabic drama as it questions intraculturalism within the conflict-ravaged Middle East. It prompts us to ask how we should address local Shakespeares in a global context, and how local knowledge illuminates our understanding of Shakespeare's reception. This paper emphasizes the fluidity of the field of Shakespearean studies and the instability of East–West cultural divides.
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Lee, Hyon-u. "The Yard and Korean Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 39–52. http://dx.doi.org/10.2478/mstap-2013-0004.
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Since the New Globe Theatre opened in 1996, they have used the yard as an acting area or entrances. Even though the authenticity of using the yard is disputable, nobody denies that the yard must be a very effective tool for performing Shakespeare at the Globe Theatre. The yard is an essential part of traditional Korean theatre, called “talchum (mask dance)” or “talnori (mask play).” The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as players, or acting as if they were some of the audience. The theatrical style of using the yard has much influenced the modern theatre of Korea. And many Korean directors including Oh Tae-suk, Yang Jung-ung, Sohn Jin-chaek, Park Sung-hwan, and myself, have applied the yard techniques to their Shakespearean productions. Korean Shakespearean productions, which use the yard actively, can be more evidence that the yard must be an effective tool for Shakespeare, not only at the Globe Theatre but also at any kind of theatres of today. No one knows whether Shakespeare actually used the yard or not. But the fact that many Shakespearean productions have used the yard successfully, implies that Shakespeare's texts themselves have enough room for the yard.
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Dąbrowska, Agata. "Żydowskie aktorki z Polski w rolach szekspirowskich w teatrze jidysz." Studia Judaica, no. 2 (48) (2021): 343–75. http://dx.doi.org/10.4467/24500100stj.21.015.15070.
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Jewish Actresses From Poland in Shakespearean Roles In the Yiddish Theater The article aims at analyzing the role played by Jewish actresses in the development of the Shakespearean Yiddish theater. The paper includes the profiles of artists coming from Poland and/or working in the Polish lands: Bertha Kalisch, Miriam Orleska, and Ester Goldenberg, who contributed to popularization of Shakespeare’s works among the Jewish community. Moreover, the article illustrates their contribution to the changes in the perception of Jewish theater from the “jargon drama” enterprise to an ambitious cultural institution with a Shakespearean repertoire. Among those discussed are the characters of Hamlet performed by Kalisch, Portia (The Merchant of Venice) played by Orleska, Jessica (The Merchant of Venice), and Ariel (The Tempest) interpreted by Goldenberg, and their assessment. The reception of these stage creations of Shakespearean heroes is analyzed on the basis of press materials published in daily newspapers and weeklies in Yiddish, Polish, and English. Some academic studies on the premieres of Hamlet, The Merchant of Venice, and The Tempest with participation of Jewish female artists have already been conducted, but their authors did not analyze the roles performed by those actresses and did not refer to the sources in Yiddish at all. The article discusses not only the artistic activities of Kalisch, Orleska, and Goldenberg, but also attempts to analyze the reception of the characters created by the latter two artists from the perspective of the social and political relations in the Second Polish Republic. Moreover, efforts were made to show that Jewish actresses, by impersonating heroines and heroes of Shakespeare’s plays, proved with their style of acting, professional preparation, and understanding of the nuances of the performed characters that Yiddish theater definitely deserved to be called a temple of art. Their creations became an inherent part of the history of Jewish, and thus the world’s Shakespearean theater.
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Sequeira Mendes, Maria. "Teatro Praga’s Omission of Shakespeare – An Intercultural Space." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 91–104. http://dx.doi.org/10.1515/mstap-2017-0007.
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Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a space in-between, as it were, which might be described as intercultural. “Inter,” as the OED clarifies, means something “among, amid, in between, in the midst.” Each of Teatro Praga’s Shakespearean adaptations, seems to exist in this “in-between” space, in the sense that they are named after Shakespeare, but are mediated by a combination of subsequent innovations. Shakespeare then emerges, or exists, in the interval between his own plays and the way they have been discussed, quoted, and misquoted across time, shaping the identities of those trying to perform his works and those observing its re-enactments on stage while being shaped himself. The fact that these adaptations only use Shakespeare’s words from time to time leads critics to consider that Teatro Praga is working against Shakespeare (or, to admirers of Henry Purcell, against his compositions). This process, however, reframes Shakespeare’s intercultural legacy and, thus, reinforces its appeal.
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Rusu, Anca-Maria. "Shakespeare and Romanian Performance – a Doctoral Perspective." Theatrical Colloquia 8, no. 2 (December 1, 2018): 211–17. http://dx.doi.org/10.2478/tco-2018-0016.
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Abstract There has been a constant interest in Shakespeare in the last twenty years among playwrights, critics, directors and actors. The revival of Shakespeare studies, the multitude of interpretations, theatre productions, research studies of doctoral type have been not just a reconsideration of texts, but also an attempt to modernise them. These findings and many other reflections on Shakespearean theatre and an amazing diversity, on which it had been founded, are the result of the doctoral research done by Antonella Cornici on the Shakespearean soliloquy and its diverse Romanian stage versions appeared in performances between 1990-2015.
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Tripathy, Mitashree. "From Casket to Court via Mercy and the Ring: Commemorating Shakespeare’s Portia in "The Merchant of Venice"." Multicultural Shakespeare: Translation, Appropriation and Performance 25, no. 40 (December 14, 2022): 133–49. http://dx.doi.org/10.18778/2083-8530.25.09.
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Shakespeare’s comedies mark his artistic excellence in the portrayal of woman characters. Shakespearean women have invariably moved the audience and their understanding towards them from being sweet and mawkish to expressing their needs sternly for integrity, justice through wit and intelligence in his plays. Often strongly approved by the modern feminists, the qualities of intelligence and assertiveness are regarded as admirable qualities in Shakespearean comic heroines. As revolutionaries, Shakespearean female characters have always been projected as strong, sometimes stronger than the male counterparts; often going against the conventions of the society to symbolize what gender equality in the future may be like. Essential qualities like intelligence and wit always fulfilled and made Shakespearean heroines independent personalities. The female characters in Shakespeare’s plays always played an important role in the dramatic run in both tragedies and comedies. This article studies the portrayal of intelligence by Portia in The Merchant of Venice making her the hero of the play.
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Tang, Renfang. "East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 61–81. http://dx.doi.org/10.18778/2083-8530.20.06.
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This article examines two huaju performances of Shakespeare—The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity of Shakespearean texts, but more critically, illustrate how Shakespeare and intercultural discourses are internalized and reconfigured by the nation and culture that consume and re-produce them. Chinese adaptations of Coriolanus and King Lear demonstrate how (intercultural) identity is constructed through the subjectivity and iconicity of Shakespeare’s characters and the performativity of Shakespeare’s texts.
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Russo, Emiliana. "Original Pronunciation and the United States: The Case of <i>A Midsummer Night’s Dream</i> by Paul Meier (2010, 2012)." Review of International American Studies 15, no. 2 (December 31, 2022): 211–31. http://dx.doi.org/10.31261/rias.13757.
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In 2004 Romeo and Juliet in Original Pronunciation (OP) was staged at Shakespeare’s Globe, inaugurating what Crystal would later define the OP movement (2016) - a movement aiming to restore the original sound of both the literary and non-literary works of the past. While academic literature suggests an irregular theatrical interest in the Shakespearean OP in the UK, it also demonstrates that such restoratory projects have proven increasingly appealing to the US audiences. The reasons why the North American theater goers' are attracted to the Shakespearean OP remain unclear. Based on a qualitative analysis of interviews with Paul Meier, the director of the theatrical and radio production A Midsummer Night’s Dream (2010, 2012) and two of his cast members, and complementing the findings with the study of promotional and non-promotional articles concerning the productions, this paper aims to shed light on the rationale behind the North American fascination with the Shakespearean OP. As Meier’s reflections gravitate towards the identity of the US as a former British colony, this study, relying extensively on literature review, is carried out both through the lens of literary/cultural history and of historical linguistics. Finally, though limited in its scope, this paper intends to pave the way for further studies on the relationship between the allure of the OP and the US culture, and thereby to enrich the area of investigation concerning Shakespeare's reception in the US and his role in the American culture.
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Coonradt, Nicole. "“To Be or Not To Be?”." Religion and the Arts 25, no. 3 (June 21, 2021): 243–62. http://dx.doi.org/10.1163/15685292-02503001.
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Abstract This essay considers Shakespeare through Aristotelianism and Thomism to explore Hamlet as a meditation on tyranny. Based on the classical model of tragedy as presented by Aristotle in his Poetics and further informed by his Ethics and Politics, the essay identifies the climax of the play in order to determine the playwright’s argument about what should have happened instead of what did—namely, the hero should have removed the tyrant Claudius when given the opportunity at Act 3, Scene 3. Shakespeare is deliberately and successfully upending the Aristotelian model, while yet fulfilling its definitions and expectations. The claim is further supported by Aquinas’s six conditions for the right use of anger and vengeance as found in his Summa Theologica. Hamlet’s choice not to act is highly significant—and ironically Shakespearean. The play’s treatment of tyranny may have been a call to action for Shakespeare’s contemporary audience.
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Wells, Stanley, and Anne Sophie Haahr Refskou. "Shakespeare, Globalization, and the Digital Revolution." New Theatre Quarterly 30, no. 1 (February 2014): 65–71. http://dx.doi.org/10.1017/s0266464x14000086.
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In an interview given during a lecture tour in Scandinavia organized by the universities of Copenhagen, Bergen, and Aarhus in October and November, 2012, Stanley Wells talks about his own career in Shakespeare studies and discusses past and present major changes and issues within the field, including his own Oxford Complete Works of 1986, co-edited with Gary Taylor et al., revision and collaboration theories, global Shakespeare, and new challenges for Shakespearean scholars. He shares thoughts on his own current and future research projects, which include a new monograph on Shakespearean actors through time, and he also comments on the relationship between academic scholars and theatre practitioners, and ways in which to understand the ever-shifting concept of a Shakespearean play in relation to performance, reading, and personal and critical responses. Following a long career of many publications and editions, Stanley Wells is now Professor Emeritus of the University of Birmingham, and Honorary President of the Shakespeare Birthplace Trust. Anne Sophie Haahr Refskou is a Doctoral Fellow in English and Dramaturgy at Aarhus University, Denmark. She works with Shakespearean acting and dramaturgy, focusing on the relationship between text and performance, particularly in relation to the actor's body and physical expressions.
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Dinega, Alyssa W. "Ambiguity as Agent in Pushkin's and Shakespeare's Historical Tragedies." Slavic Review 55, no. 3 (1996): 525–51. http://dx.doi.org/10.2307/2501999.
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The question of Shakespeare's influence on Pushkin's work in the period beginning 1824-25 has often been examined in critical works on Pushkin. This influence has generally been construed as one of the decisive factors in Pushkin's poetic and personal maturation away from his early naive Byronism. At the same time, Pushkin found in Shakespeare a release from the outworn conventions of French classical drama that had until then provided the precepts for writers for the Russian stage. For Pushkin, two specific features of Shakespearean drama were congenial: the abandonment of the three classical unities in favor of the primacy of character in dramatic action, and generic mixtures of comedy and tragedy, poetry and prose.
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Ciraulo, Darlena. "Superhero Shakespeare in Golden Age Comics." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 137–51. http://dx.doi.org/10.18778/2083-8530.24.09.
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Albert Lewis Kanter launched Classic Comics in 1941, a series of comic books that retold classic literature for a young audience. Five of Shakespeare’s celebrated plays appear in the collection. The popularity of Classics Illustrated encouraged Seaboard Publishing to issue a competitive brand, Stories by Famous Authors Illustrated (1949-51), which retold three Shakespearean dramas. Although both these enterprises aimed to reinforce a humanist perspective of education based on Western literature, the classic comics belie a Posthuman aesthetic by presenting Shakespearean characters in scenes and postures that recall Golden Age superheroes. By examining the Shakespearean covers of Classic Illustrated and Stories by Famous Authors, this essay explores how Shakespearean characters are reimagined as Superhuman in strength and power.
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Priest, Dale G., Graham Bradshaw, Tom Bishop, and Mark Turner. "The Shakespearean International Yearbook. Vol. 4, Shakespeare Studies Today." Sixteenth Century Journal 37, no. 2 (July 1, 2006): 445. http://dx.doi.org/10.2307/20477852.
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Cluck, Nancy A. "Shakespearean Studies In Shame." Shakespeare Quarterly 36, no. 2 (1985): 141. http://dx.doi.org/10.2307/2871189.
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Sae, Kitamura. "A Rose by Any Other Name May Smell Different." Critical Survey 33, no. 1 (March 1, 2021): 59–71. http://dx.doi.org/10.3167/cs.2021.330105.
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Using William Shakespeare’s name is considered helpful for marketing films in English-speaking regions because of the authority that this name wields. This article reveals a different marketing landscape in Japan, where film distribution companies are indifferent to associations with Shakespeare. For example, when Ralph Fiennes’ Coriolanus (2011) was released in Japanese cinemas, it was retitled The Proof of the Hero; the Shakespearean association was deliberately erased from the Japanese title. Such a marketing policy should be situated within a wider trend of promoting non-Japanese films in Japan. It is possible to point out three major reasons: the unpopularity of American comedy films, the relative unpopularity of theatre, and Japanese distributors’ heavily localised marketing policies, which are often criticised by fans on social media.
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Hopkins, Lisa. "John Ford’s Strange Truth." Critical Survey 34, no. 2 (March 1, 2022): 93–104. http://dx.doi.org/10.3167/cs.2022.340208.
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From the 1620s to the 1630s, John Ford revisited Shakespeare and made him strange. ’Tis Pity She’s a Whore inverts Romeo and Juliet by making its core relationship endogamous rather than exogamous. Perkin Warbeck is a sequel to Richard III, but undoes its original by telling a story fundamentally incompatible with Shakespeare’s. The Lover’s Melancholy echoes both Twelfth Night and King Lear, collapsing the distinction between comedy and tragedy. Above all, Ford reworks Othello, which lies behind the plots of four of his plays. The estranging effect produced by these reshapings is underlined by Perkin Warbeck’s subtitle ‘A Strange Truth’ and the word ‘strange’ appears forty-nine times in his plays. Ford uses familiar Shakespearean stories to highlight the strangeness of the stories which he himself tells.
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Marowitz, Charles. "Cue for Passion: on the Dynamics of Shakespearean Acting." New Theatre Quarterly 18, no. 1 (February 2002): 3–9. http://dx.doi.org/10.1017/s0266464x02000106.
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Critics and scholars continue to delve assiduously into the literary nuances of Shakespeare's plays, and increasingly the Theatre Studies community pursues the task of documenting performance. But the dynamics of Shakespearean acting continue to be fogged by ideologies and assumptions dating back to the debate between Alfred Harbage and Bertram Joseph in the early post-war period, and to even earlier disputes between inspirational and intellectual interpretations. Here, director and critic Charles Marowitz looks retrospectively at the problem by exploring the living constituents of the actor's art as it grapples with the canon, touching in the process on acting styles from the seventeenth century to the present, and on the divergence between American and British approaches. During his years in England, Charles Marowitz founded the Open Space Theatre and was a close collaborator with Peter Brook at the Royal Shakespeare Company, notably during the Theatre of Cruelty season. He has published two dozen books on a variety of theatrical subjects, the most recent being Stage Dust: a Critic's Cultural Scrapbook from the 1990s (Scarecrow Press) and Roar of the Canon: Kott and Marowitz on Shakespeare (Applause Books). He is currently Artistic Director of the Malibu Stage Company in California.
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Hiscock, Andrew. "Moving Shakespeare: La danse narrative and adapting to the Bard." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 30, 2020): 18–37. http://dx.doi.org/10.1177/0184767820914513.
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This article considers the expectations of narrative that frequently surround Shakespearean dance adaptation. Reviewing responses to two contemporary productions ( Le Songe by Les Ballets de Monte Carlo and Golden Hours (As You Like It) by the Rosas company), discussion pays particular attention to critical and audience appetites when attending to performances of Shakespeare on the dance stage. Highlighting contemporary debates in dance studies, the discussion draws to a close examining the challenges of transposing (often well-known) Shakespearean texts into bodily gesture and movement.
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Watson, Alex. "Shadowing Shakespeare." Critical Survey 33, no. 1 (March 1, 2021): 72–84. http://dx.doi.org/10.3167/cs.2021.330106.
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In his 1980 film Kagemusha or Shadow Warrior, Akira Kurosawa presents the sixteenth-century Takeda clan engaging a lower-class thief to impersonate their recently deceased leader, Takeda Shingen. I examine Kagemusha as a critical engagement with Shakespeare’s English history plays and ‘shadow’ counterpart to Kurosawa’s trilogy of Shakespeare adaptations, Throne of Blood (1957), The Bad Sleep Well (1960) and Ran (1985). In keeping with Shakespeare’s dramatisation of English history, Kurosawa creatively reworks historical sources, incorporating stories of intergenerational rivalry and fulfilled prophecies, to depict the transition from medieval civil conflict to the early-modern nation-state. Kurosawa also deploys the motif of the double to explore the distinctively Shakespearean theme of power as performance, engaging in a dramatic examination of Machiavelli’s ideas about politics. I argue that Kurosawa’s use of the double posits a theory of influence, drawing on Japanese cultural traditions, in which doubling can achieve a form of transcendence through self-annihilation.
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Stritmatter, Roger, and Shelly Maycock. "A Kingdom for a Mirth." Critical Survey 34, no. 4 (December 1, 2022): 42–66. http://dx.doi.org/10.3167/cs.2022.340404.
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This article offers a reading of the famously problematic scene 5.2 of Antony and Cleopatra, in which Cleopatra prepares to meet her death by the bite of the ‘worm’ (5.2.233–290). In this scene, and this scene alone, the Egyptian asp is called by the Anglo-Saxon term ‘worm’ nine times. Repetition, suggests Frankie Rubinstein, may in Shakespeare be a sign of a pun. Samuel Johnson characterised the homophonic resonance of punning as ‘Shakespeare’s Fatal Cleopatra’, but Rubinstein insists that for Shakespeare ‘“reason, propriety, and truth” were not sacrificed by the Shakespearean “quibble” but emerge from it’. In Antony and Cleopatra, punning is one key linguistic expression of the play’s entwinement with the principles of alchemical transmutation and preference for ‘becoming’ in the ancient dichotomy between being and becoming. As Richard Whalen first proposed in 1991, the ninefold iteration of ‘worm’ in the scene may be a pun on an Aristocratic French name, since the word ‘worm’ in French is Ver.
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Weisberg, Richard H. "Triangulation as a Problem in the Plays and Sonnets." European Judaism 51, no. 2 (September 1, 2018): 59–66. http://dx.doi.org/10.3167/ej.2018.510210.
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Abstract As to the risks of what I call the ‘triangulation’ of both public power and private emotion, I extend my earlier treatment of ‘mediation’ in The Merchant of Venice to Measure for Measure, King Lear, Hamlet, and The Tempest, linking to them Shakespeare’s Sonnet 134. For Shakespeare, whether poet or playwright, a private triangulation of direct romantic obligation is as nettlesome as the public official’s similar behaviour – as when the Duke ‘outsources’ Viennese power to Angelo – and the results are quite as disastrous. The complex and highly legalistic sonnet concerns the triangulation of passion from the speaker to a friend. The beloved winds up ensnaring both through ‘the statute of [her] beauty’. The word ‘surety’ – used centrally in the poem and twice in Merchant – pinpoints, through the delegation to a third party of obligations otherwise charged directly to two committed parties, the underlying Shakespearean problematic
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Mendes, Leonardo. "Coelho Neto Canibal: Pseudônimos shakespearianos e literatura licenciosa no Brasil (1890-1940) / Coelho Neto Cannibal: Shakespearean pseudonyms and licentious literature in Brazil (1890-1940)." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 4 (January 6, 2022): 24. http://dx.doi.org/10.17851/2358-9787.30.4.24-46.
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Resumo: Este trabalho estuda a trajetória do pseudônimo shakespeariano Caliban, adotado pelo escritor Henrique Coelho Neto (1864-1934), em 1890, para veicular literatura licenciosa nos impressos. Acompanhamos o pseudônimo desde sua estreia até sua última aparição no mundo editorial na década de 1940. Para levar a cabo a tarefa, consultamos os livros publicados por Caliban e investigamos sua atuação na imprensa periódica por meio da consulta online dos jornais na Hemeroteca Digital Brasileira. Caliban foi um autor de sucesso e parte desse reconhecimento vinha da origem erudita de seu nome. O filtro shakespeariano era crucial para a aceitação dessa literatura nos circuitos letrados, mas muitos a consideravam como mera pornografia. A literatura de Caliban revela um Coelho Neto moderno, contestador e inovador que foi esquecido pela tradição crítica.Palavras-chave: Coelho Neto; William Shakespeare; Caliban; literatura licenciosa.Abstract: This work studies the trajectory of the Shakespearean pseudonym “Caliban”, adopted by writer Henrique Coelho Neto (1864-1934) in the 1890s to convey licentious literature in print. We follow the pseudonym from its debut until its last appearance in the publishing world in the 1940s. To carry out the task, we consulted the books published by Caliban and investigated his performance in the periodic press through online consultation of newspapers in the Hemeroteca Digital Brasileira. Caliban was a successful author and part of that recognition came from the erudite origin of his name. The Shakespearean filter was crucial for the acceptance of this literature in literary circuits, but many considered it as mere pornography. Caliban’s literature reveals a modern, challenging and innovative Coelho Neto who has been overlooked by critical tradition.Keywords: Coelho Neto; William Shakespeare; Caliban; licentious literature.
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Erofeeva, Natalia E., and Elena V. Kirichuk. "Book review: Smith, E. (2020) This Is Shakespeare. The most erotic comedy, the most dramatic tragedy, men burned by shame, cardboard villains, feminists, show business stars and more (Translated from English by M.G. Sukhotina. Moscow: Mann, Ivanov and Ferber)." Tekst. Kniga. Knigoizdanie, no. 28 (2022): 167–79. http://dx.doi.org/10.17223/23062061/28/11.
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Modern literary criticism offers the reader a whole sphere of Shakespearean studies based on the ideas of historical poetics. In accordance with the latter, we understand the images and problems of dramas, comedies and tragedies of the great English playwright in the key of romantic, symbolist, psychoanalytic, and other interpretations. Emma Smith offers a relevant reading of Shakespeare’s texts, based on theatrical productions and film adaptations of his works in the 20th and 21st centuries. The actualization of the Shakespearean heritage is being implemented in modern theater and cinema as an attempt to bring the complex and diverse content of the writer’s tragedies and comedies closer to mass culture. As a result, there appears the effect of inversion, of a break-off with the deep philosophical problems of the Shakespeare theater. The chapters of the book somehow address the problem of interpretation -contemporary with Shakespeare and with our time. The author’s arsenal includes psychology and psychoanalysis, cultural and sociological approaches, which are combined with the actual philological analysis of plays. However, the book discusses the evolution of themes and genres the least. The works chosen for the analysis are well known to readers and experts. The book includes 20 chapters, each dedicated to one play. We stress that, in the educational process, this structure is very convenient because it draws one’s attention to the work as much as possible and allows determining one’s own perception, consent or disagreement with the author of the book. This feature has been tested in practical work with students in classes on Shakespeare’s works. We analyze all the interpretations of Shakespeare’s tragedies and comedies, both modern and historical, given in Smith’s book. The author of the book is interested, first of all, in topical approaches to understanding the plays of the English playwright, this is dictated by the very aim of the study - to interest the reader and show Shakespeare as our contemporary. The author of the book speaks a modern language with her reader, relying on the experience of attracting both wide readers and experts to reading Shakespeare’s works. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.
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Benbenek, Mary Beth. "Shakespearean Boyhood from the Early Modern Era to the Present." Boyhood Studies 8, no. 2 (September 1, 2015): 127–29. http://dx.doi.org/10.3167/bhs.2015.080214.
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Caputo, Nicoletta. "“Spoofing Celebrities”." Nineteenth-Century Literature 76, no. 2 (September 1, 2021): 163–91. http://dx.doi.org/10.1525/ncl.2021.76.2.163.
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Nicoletta Caputo, “‘Spoofing Celebrities’: Shakespearean Parodies of Edmund Kean” (pp. 163–191) The Romantic age, and theater in particular, figure large in celebrity studies. Edmund Kean was the most celebrated actor and the preeminent Shakespearean interpreter of the time. Kean, however, was also straightforwardly notorious. Exceedingly exhibitionist and extravagant in his personal life, he reveled in scandal. His signature stage role was Richard III, and when, in January 1825, the actor became the target of ferocious parody in the press in consequence of a trial for criminal conversation, this and other Shakespearean roles that he had successfully interpreted over the years were suddenly used to attack him. The essay examines the verbal and visual parodies of Kean based on Shakespeare that were produced for the occasion, focusing on the multilevel appropriation (or misappropriation) of the Bard in the affair.
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Cieślak, Magdalena. "From Romero to Romeo—Shakespeare’s Star-Crossed Lovers Meeting Zombedy in Jonathan Levine’s Warm Bodies." Text Matters: A Journal of Literature, Theory and Culture, no. 11 (November 22, 2021): 157–77. http://dx.doi.org/10.18778/2083-2931.11.11.
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Since their first screen appearances in the 1930s, zombies have enjoyed immense cinematic popularity. Defined by Romero’s 1968 Night of the Living Dead as mindless, violent, decaying and infectious, they successfully function as ultimate fiends in horror films. Yet, even those morbid undead started evolving into more appealing, individualized and even sympathetic characters, especially when the comic potential of zombies is explored. To allow a zombie to become a romantic protagonist, however, one that can love and be loved by a human, another evolutionary step had to be taken, one fostered by a literary association.
This paper analyzes Jonathan Levine’s Warm Bodies, a 2013 film adaptation of Isaac Marion’s zombie novel inspired by William Shakespeare’s Romeo and Juliet. It examines how Shakespeare’s Romeo helps transform the already evolved cinematic zombie into a romantic protagonist, and how Shakespearean love tragedy, with its rich visual cinematic legacy, can successfully locate a zombie narrative in the romantic comedy convention. Presenting the case of Shakespeare intersecting the zombie horror tradition, this paper illustrates the synergic exchanges of literary icons and the cinematic monstrous.
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Yar Khan, Shahab. "Women as Heroes in Shakespearean Drama." MAP Education and Humanities 1, no. 1 (August 20, 2021): 1–6. http://dx.doi.org/10.53880/2744-2373.2021.1.1.1.
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Shakespeare studies Nature in the context of human behaviour. His drama deals with transformations and he displays these changes on both social and personal levels through alternating the graphic images from characters to situation. In an authoritarian society where lives of women were governed by a belief system which resulted out of Nature’s disposition of preordained roles in society, the portrayal of dominating female voices would have bothered many. Shakespearean drama is a protest against the society which is always dominated by the destructive forces of male paranoia, egocentrism, patriarchal instinct of exploitation of the weak, male sexual anxiety and corrupt abuse of rules of justice by the powerful. A study of the female mind presented in Shakespearean drama is seen at its best in The Winter’s Tale. The following article is an attempt to explore some of the aspects of Womanhood in Shakespearean art.
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Muñoz Valdivieso, Sofía. ""Mine ear is much enamour'd of thy note": Shakespeare’s Intercultural Dream in the Indian Subcontinent." Sederi, no. 19 (2009): 101–21. http://dx.doi.org/10.34136/sederi.2009.5.
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Tim Supple’s 2006 production of A Midsummer Night’s Dream has been hailed by some critics as the successor of Peter Brook’s revolutionary 1970 version, a vision that changed perceptions of the play and became a classic in the history of its performance. Supple’s Midsummer uses about half of Shakespeare’s English text, with the rest translated into Hindi, Bengali, Marathi, Malayalam, Tamil, Sanskrit and Sinhala. It maintains the plot and characters intact, although it includes elements of local theatrical traditions in music, dance, martial arts and acrobatics. The production defies attempts at classification, since it presents features of “foreign” Shakespeare plays yet it braids the Indian-language dialogues into Shakespeare’s original English and extends the alienation effect of a foreign language production to audiences throughout the world. The international success of this production since it premiered in Britain as part of the 2006-07 Royal Shakespeare Company’s Complete Works Festival at Stratford is meaningful beyond considerations of aesthetic and theatrical value. The present paper discusses Tim Supple’s A Midsummer Night’s Dream within the contexts of foreign Shakespearean performance and intercultural theatre, and it analyses the contribution of the production to current debates about the importance of Shakespeare as international cultural capital.
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Cieślak, Magdalena. "Grzegorz Wiśniewski’s Production of Richard III in Teatr Jaracza in Łódź—Textual Authority, the “Director's Cut”, and Theatre Status." Multicultural Shakespeare: Translation, Appropriation and Performance 17, no. 32 (June 30, 2018): 69–80. http://dx.doi.org/10.18778/2083-8530.17.07.
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Grzegorz Wiśniewski’s 2012 Richard III in Teatr Jaracza in Łódź was a very successful production with critics and audiences alike. At the 2012 Gdańsk Shakespeare Festival it won the Golden Yorick, a prestigious Polish award for the best staging of a Shakespearean play in the season. Wiśniewski, a renown Polish theatre director and professor at the National Film School in Łódź, has his own way of understanding theatre, its role in culture, and Shakespeare’s place in it. Wiśniewski believes in the theatre of the middle path, as he calls it, that is neither classical/conservative, nor radically avantgarde. He wants to attract wide audiences and offer them intellectual and well-balanced cultural entertainment. Without diminishing the weight of such cultural and literary icons as Shakespeare, he vivisects texts to make productions that can easily speak to a contemporary audience. This paper analyzes Wiśniewski’s Richard III to show how the director manages to achieve balance between his own auteur power, the authority and complexity of Shakespeare’s text, and theatre’s cultural mission.
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Adelek, Durotoye A. "Parody of the Shakespearean Fool Tradition in an African Society." Matatu 40, no. 1 (December 1, 2012): 3–19. http://dx.doi.org/10.1163/18757421-040001001.
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There is always a precursor in any well-established institution, and artistic institution is no exception. The fool tradition itself has its origin in Dionysian phallic rituals, or Greek, Roman and English festivals in general, thus serving as the springboard for the Shakespearean fool. Shakespeare then popularizes the fool character in his plays whereby he turns it into an institution. The Yorùbá playwrights, like others from any part of the world, seem to have been influenced by the Shakespearean fool tradition to a large extent. This essay, therefore, sets out to draw the Shakespearean parallel that is visible in the Yorùbá fool genre with special reference to the appearance, the role and language of fool. Copious examples are drawn from the written and film genres to back up the issue of parody. The essay concludes by paying attention to the mark of departure and what accounts for such a disparity.
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Hadfield, Andrew. "Grimalkin and other Shakespearean Celts." Sederi, no. 25 (2015): 55–76. http://dx.doi.org/10.34136/sederi.2015.3.
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This essay examines the representation of Ireland and Celtic culture within the British Isles in Shakespeare’s works. It argues that Shakespeare was interested in ideas of colonisation and savagery and based his perceptions on contemporary events, the history of the British Isles and important literary works such as William Baldwin’s prose fiction, Beware the Cat. His plays, notably The Comedy of Errors and Macbeth, represent Protestant England as an isolated culture surrounded by hostile Celtic forces which form a threatening shadowy state. The second part of the essay explores Shakespeare’s influence on Irish culture after his death, arguing that he was absorbed into Anglo-Irish culture and played a major role in establishing Ireland’s Anglophone literary identity. Shakespeare imported the culture of the British Isles into his works – and then, as his fame spread, his plays exported what he had understood back again, an important feature of Anglo-Irish literary identity, as many subsequent writers have understood.
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Hattaway, Michael. "Re-shaping King Lear: Space, Place, Costume, and Genre." Linguaculture 2017, no. 1 (June 1, 2017): 9–22. http://dx.doi.org/10.1515/lincu-2017-0002.
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Abstract Performance studies must enjoy parity of esteem with critical studies because they remind us of the plurality of “readings” that are generated by a Shakespearean text. Shakespeare seems to have apprehended this when, in Othello, he used a nonce-word, “denotement”, which applies to Othello’s reading of his wife in his mind’s eye. I examine other sequences in which we watch a character “reading” on-stage or imagined action, in Hamlet, Titus Andronicus, Cymbeline, Richard II, and Troilus and Cressida. In Hamlet this involves re-reading as well as generic displacement, which, I argue, is a way of rendering inwardness. As I test case, I analyse a production of King Lear by Shakespeare’s Globe, on a fairground stage, in which the king reshaped himself, became a folkloric figure, like a figure in Nashe’s Summer’s Last Will and Testament. The play itself was thus, indecorously, reshaped as “The Tale of King Lear”. “Dramatic truth”, therefore, in no way depends upon theatrical “realism”.