Schakespear in der Klemme: Johann Friedrich Schink and the Problem of Adaptation

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
Maria Elisa Montironi
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Abstract

In his short play Schakespear in der Klemme, oder wir wollen doch auch den Hamlet spielen,1 Johann Friedrich Schink pictures the ghosts of William Shakespeare and David Garrick in heaven as they meet the ghost of Jean-François Ducis, author of the famous 1769 French adaptation of Hamlet, and two actors of Schink’s Theater Schule, directed by Müller, who are about to perform Hamlet. This hilarious play is, in Andreas Höfele’s words, “a solid, if none-too-subtle piece of theatrical entertainment combining the ever-popular sport of bashing the French with a laugh at the current craze for Hamlet”.2 This paper aims to demonstrate that the play’s nationalist lampoons and hilarious gags are also significant metatextual elements, which are worth investigating to outline Schink’s insights into the problematic issue of Shakespearean adaptations. Studies on Shakespeare’s afterlife, particularly in Germany, build up the theoretical basis of this contribution, and the ‘close reading’ methodology is used in the analysis of the play.
《克莱姆》中的沙克斯皮尔:约翰·弗里德里希·辛克与适应问题
约翰·弗里德里希·辛克(Johann Friedrich Schink)在他的短剧《哈姆雷特》(Schakesper In der Klemme)中描绘了威廉·莎士比亚(William Shakespeare)和大卫·加里克(David Garrick。用安德烈亚斯·霍费尔的话说,这部滑稽的戏剧是“一部坚实的、即使不算太微妙的戏剧娱乐作品,它将抨击法国人这一一直流行的运动与对当前哈姆雷特热潮的嘲笑结合在一起”。2本文旨在证明,该剧的民族主义讽刺和滑稽噱头也是重要的元文本元素,这些都值得研究,以概述辛克对莎士比亚改编问题的见解。对莎士比亚死后的研究,特别是在德国的研究,为这一贡献奠定了理论基础,并在分析该剧时使用了“细读”方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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