The Oxford Handbook of Shakespeare and Music最新文献_第3页

Shekspirshchina

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.22

P. Bullock

{"title":"Shekspirshchina","authors":"P. Bullock","doi":"10.1093/oxfordhb/9780190945145.013.22","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.22","url":null,"abstract":"Although Shakespeare’s literary reception in nineteenth-century Russia has been well mapped, less attention has been given to his musical afterlife. This chapter examines Shakespeare’s place in nineteenth-century Russian music from three complementary perspectives. First, it will consider how Shakespeare’s characters and plots were taken up in the mid-century tone poem, with a particular focus on Balakirev’s overture to King Lear. Second, it will examine the use of music in stage productions of Shakespeare’s plays, taking by way of example not just Balakirev’s incidental music for King Lear, but also Tchaikovsky’s music for Hamlet (rather than his better-known tone poems, Romeo and Juliet and The Tempest). Finally, a third model of reception is explored in the form of a discussion of Musorgsky’s treatment of Pushkin’s Boris Godunov. Rather than setting Shakespeare directly, Musorgsky engages in a triangulation of literary influence, drawing on Pushkin’s historical drama (widely regarded as an attempt to import Shakespearean principles as a way of distancing himself from the precepts of French neo-classicism) as a way of distancing himself from Italian models of operatic action (including many on Shakespearean themes).","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131147915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Shakespeare’s Musical Time Signatures 莎士比亚的音乐时间签名

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.6

Joseph M. Ortiz

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引用次数: 0

Early Encounters with Shakespeare Music 早期接触莎士比亚音乐

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.10

Simon Smith

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引用次数: 0

Rhizomatic Harmonies 根茎的和声

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.52

A. Rodgers

{"title":"Rhizomatic Harmonies","authors":"A. Rodgers","doi":"10.1093/oxfordhb/9780190945145.013.52","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.52","url":null,"abstract":"While some critics have argued that music’s role in contemporary staged Shakespeare’s meaning has diminished since the Renaissance, this chapter explores music’s deeply significant role in filmed Shakespeare, particularly in the films of Vishal Bhardwaj. Arguing that a focus on alternative lexicons (such as those expressed by music and dance) that play a significant role in non-Anglophone Shakespeare, this chapter contends that the field can offer a broader hermeneutic, hence inclusive, epistemological field, via more careful attention to the ways that non-Western and non-Anglophone cultures interpret and use Shakespeare as mythic, narrative, and sociocultural commentary on their own historical moment outside of Shakespeare’s language. Such a reconsideration of language as the most significant locus of meaning within Shakespeare’s studies facilitates a more capacious template for understanding how Shakespeare can be deployed as a form of resistant participation in what Barbara Hodgdon has called ‘the Shakespeare trade’. Via a focus on Vishal Bhardwaj’s tragic trilogy—Maqbool (2003), Omkara (2006), and Haider (2014—this chapter explores how this composer-filmmaker’s Shakespearean oeuvre provides insight into these plays’ historical and performed past, and, even more significantly, their practice-based and interpretative present and future. In particular, the chapter focuses on Bhardwaj’s participation in a ‘Shakespeare’ that interrogates the (still rather strongly stratified) boundaries of its Anglophone performance and literary traditions. In doing so, these works imagine, even help bring into being, an entity that is fluid, multicultural, and endlessly ‘adaptive’.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"924 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123049797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘Let your indulgence set me free’ 让你的放纵让我自由吧

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.43

Mervyn Cooke

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引用次数: 1

Soundscapes of the Outdoor Playhouses, 1567‒1608 户外剧场的声景(1567-1608

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.11

Lucy Munro

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引用次数: 0

Shakespearean Concert Songs in Victorian England 莎士比亚音乐会歌曲在维多利亚时代的英国

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.24

Christopher R. Wilson

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‘A noise of thunder’ “一声雷声”

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.8

S. Hampton-reeves

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引用次数: 0

Shakespeare in Czechoslovakia 莎士比亚在捷克斯洛伐克

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.30

Klára Škrobánková

{"title":"Shakespeare in Czechoslovakia","authors":"Klára Škrobánková","doi":"10.1093/oxfordhb/9780190945145.013.30","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.30","url":null,"abstract":"This chapter focuses on three operas created in Czechoslovakia, their political significance, and the problems their creators faced when adapting drama for the operatic stage. It first considers the relationship between Shakespeare’s Comedy of Errors and its operatic adaptation Upheaval in Ephesus by the Czech composer Iša Krejčí. Even though written during the Second World War with the wish to uplift the Czech people, the piece was later often used by the Communist regime as an example of Czech buffa, sharing happiness as well as propaganda with the audience. The second analysed opera is the 1969 work by Karel Horký entitled Poison from Elsinore, a prequel to Hamlet. In the opera, the main character of Polonius investigates the murder of King Hamlet, yet finds himself trapped in the totalitarian world, pondering on the responsibility of the individual and the greater good. The author of both music and libretto of the third examined opera, Ján Cikker, started composing his Coriolanus under the influence of the Soviet invasion of August 1968. Premiered in 1974, the opera features many parallels between Shakespeare’s Rome and the occupied Czechoslovakia, which Cikker emphasizes by the changes he makes in the process of the adaptation. All three considered operas therefore offer valuable insight into the state of Czechoslovak opera and the reception of Shakespeare’s work in the second half of the twentieth century.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130380694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Music for Shakespeare at Stratford-upon-Avon 埃文河畔斯特拉特福的莎士比亚音乐

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.17

Val Brodie

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引用次数: 0