The Oxford Handbook of Shakespeare and Music最新文献_第4页

Shakespeare and Opera in the Czech Lands 捷克的莎士比亚与歌剧

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.31

J. Kopecký

{"title":"Shakespeare and Opera in the Czech Lands","authors":"J. Kopecký","doi":"10.1093/oxfordhb/9780190945145.013.31","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.31","url":null,"abstract":"Shakespeare inspired Czech Romantic composers almost exclusively in the genre of comic opera, but adapting a Shakespeare play into the form of a high-quality libretto was an extraordinarily difficult task, which then had to be matched by the musical setting and performance. Moreover, it was difficult to compete with Verdi’s Otello premiered in Prague in 1888 as the first production outside of Italy. Given these circumstances, it is not surprising that Shakespearean comic operas were first successfully produced at Prague’s National Theatre only once the quality of the opera company there had been stabilized, that is, around 1900: Karel Weis’s Viola (1892), Zdeněk Fibich’s The Tempest (1895), Josef Nešvera’s Perdita (1897), and Josef Bohuslav Foerster’s Jessika (1905). While it was through theatre that political questions were dealt with in the Czech lands under Habsburg rule, and Shakespeare became a leading artistic authority for the Czechs (unlike Schiller, whose legacy was fostered mainly by German theatres), the operas of Czech composers based on Shakespearean subjects aroused the hope of promoting the Czech arts in the struggle for national independence in an international context.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"78 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":"116295899","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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‘Genuine attempts at enlarging the scope of film’ “真正尝试扩大电影的范围”

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.39

B. Hoyle

{"title":"‘Genuine attempts at enlarging the scope of film’","authors":"B. Hoyle","doi":"10.1093/oxfordhb/9780190945145.013.39","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.39","url":null,"abstract":"Although they collaborated fully on only three feature films, the partnership of Sir Laurence Olivier and Sir William Walton remains one of the great filmmaker‒composer partnerships, one which bears comparison with the teaming of Alfred Hitchcock and Bernard Herrmann, or Federico Fellini and Nino Rota. The chapter draws on primary source materials in both the Walton archive at Yale University and the Olivier papers at the British Library in order to undertake a close reading of the scores for Henry V (1945), Hamlet (1948),and Richard III (1955) and assesses the ways in which Walton’s music complements and counterpoints both Shakespeare’s texts and Olivier’s editing, acting, and mise-en-scène. Comparisons are drawn between Walton’s film scoring practices and those of such prominent contemporaries as Sergei Prokofiev and Max Steiner, as well as more recent film composers such as Patrick Doyle. The chapter also situates the scores within the wider context of 1940s and 1950s British film and film music, and confirms filmmaker Michael Powell’s assertion that this trilogy represented a genuine attempt to enlarge the scope of film as an art form through its complex combination of words, music, cinematography, and design.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"51 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":"127832824","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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Historically Informed Experience 历史经验

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.18

B. Barclay

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‘Sing Willow, &c.’ “唱柳树，&c。”

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.2

L. Austern

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Tangled Relations 纠结的关系

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.5

N. Isenberg

{"title":"Tangled Relations","authors":"N. Isenberg","doi":"10.1093/oxfordhb/9780190945145.013.5","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.5","url":null,"abstract":"This chapter explores the complex, reciprocal influences that weave back and forth through the performance histories of Shakespeare and of ballet, tracing their concerted force in shaping and reshaping commonplaces in Shakespeare, ballet, and the world at large. It offers a preliminary sketch of the historical landscape in which Shakespeare-ballet connections reside, laying out routes across time, and signalling landmarks both past and present that figure importantly in the development and our understanding of these connections. It analyses the pivotal role of Romeo and Juliet ballets danced to Prokofiev’s score, as Shakespeare ballets became prominent in this landscape in the mid-twentieth century. The mediation involving three voices and languages—verbal, corporeal, and musical—plays a central role in this discussion which includes first-hand accounts from present-day choreographers, composers, and dancers. Throughout, the chapter offers observations, reflections, and questions aimed at moving the young but burgeoning field of Shakespeare-and-Ballet forwards, pushing its boundaries and signalling new intersections. The larger aim of this chapter is to demonstrate the full measure of Shakespeare-ballet connections and their value in even wider cultural contexts than Shakespeare studies and dance studies.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"1 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":"128288357","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 in Sweden 莎士比亚在瑞典

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.16

Leah Broad

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Music in Akira Kurosawa’s Filmic Adaptations of Shakespeare 黑泽明改编莎士比亚电影中的音乐

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.41

Timothy Koozin

{"title":"Music in Akira Kurosawa’s Filmic Adaptations of Shakespeare","authors":"Timothy Koozin","doi":"10.1093/oxfordhb/9780190945145.013.41","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.41","url":null,"abstract":"This chapter explores how music is used in Akira Kurosawa’s three Shakespeare films in order to explore problems of Japanese modernity. Working with composers Masaru Sato and Toru Takemitsu, Kurosawa created films that are widely regarded as among the most successful and also the most radically new filmic adaptations of Shakespeare. Throne of Blood (1957), with a score by Sato, is Kurosawa’s adaptation of Macbeth. Set in fifteenth-century Japan, it uses Shakespeare’s plot to depict the treachery, lawlessness, and violent power struggles that occurred between rival clans embroiled in civil war. Music is an essential component as Kurosawa projects the Shakespearean drama of murder, madness, insanity, and tragedy into a spirit world inspired by Nō drama. The Bad Sleep Well (1960), a dark satire based on Hamlet, is Kurosawa’s rebuke of modern Japanese corporate corruption. The film borrows conventions of the Japanese medieval drama, reconfiguring the Samurai warrior as an urban businessman. This study explores musical irony in Sato’s score, showing how styles of Western and traditional Japanese music are deployed to highlight binary oppositions and ironic reversals in Kurosawa’s radical reimagining of his source text. Kurosawa’s historical epic, Ran (1985), is a transcendental lament based on King Lear. The epic scale of image and sound expresses the technological and social amplification of violence deeply rooted in humanity. Takemitsu’s score includes solo flute music derived from Nō, Mahler-like scoring composed at Kurosawa’s request, and the strategic use of silence as a narrative tool.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"96 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":"124671757","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: 1

Translation and Transformation in Britten’s A Midsummer Night’s Dream 布里顿《仲夏夜之梦》的翻译与转化

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.34

Katherine R. Larson, Lawrence Wiliford

{"title":"Translation and Transformation in Britten’s A Midsummer Night’s Dream","authors":"Katherine R. Larson, Lawrence Wiliford","doi":"10.1093/oxfordhb/9780190945145.013.34","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.34","url":null,"abstract":"Benjamin Britten’s writings reveal a fascination with the question of how music evokes experiences of spatial and temporal change. Nowhere is this more evident than in his operatic reworking of Shakespeare’s A Midsummer Night’s Dream (1960). This chapter’s argument begins in the forest surrounding Athens, which Britten foregrounds to a much greater extent than Shakespeare does. Both musically and structurally, the opera revolves around the forest, positioning the characters and the audience from its opening measures within a space that facilitates and demands ‘translation’. The forest’s effects are revealed most strikingly through the metamorphosis of Shakespeare’s ‘rude mechanicals’ into Britten’s ‘rustics’, and especially in Britten’s depiction of Francis Flute, who blossoms from nervous bellows-mender to self-assured thespian. The remarkable trajectory of this adolescent character offers a productive case study for considering how Britten’s opera reframes the transformative encounters that lie at the heart of Shakespeare’s celebrated comedy. Drawing on the experience of tenor and co-author Lawrence Wiliford, who has portrayed Flute in recent productions by the Canadian Opera Company and the Aldeburgh Festival, this chapter also illuminates the crucial interpretive role that directors and singers play in bringing Britten’s operatic adaptation to life.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"6 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":"121607212","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

Shakespeare and Folk 莎士比亚与民间

The Oxford Handbook of Shakespeare and Music Pub Date : 2019-07-22 DOI: 10.1093/oxfordhb/9780190945145.013.7

Adam Hansen

{"title":"Shakespeare and Folk","authors":"Adam Hansen","doi":"10.1093/oxfordhb/9780190945145.013.7","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.7","url":null,"abstract":"English folk has long been critical of and opposed to the political and cultural status quo, yet also rooted, atavistic, despairing, and utopian in equal measure. These characteristics combine to create a form of culture both integral and eccentric to understandings of ‘English’ national identity. So what happens when folk’s musics, histories, and meanings encounter or engage with another potent, iconic, and equally vexed and complex signifier of ‘Englishness’: Shakespeare? What assumptions and expectations come into play—about Shakespeare and about ‘folk’—when the two are combined? If Shakespeare used, and moved back and forth between, ‘high’ and ‘popular’ culture at various points in his career (and in his afterlives), might he now be considered part of ‘folk’ culture? This chapter tries to answer these questions by exploring how a range of these engagements have happened, focusing on and comparing two in detail: Harley Granville-Barker’s 1914 production of A Midsummer Night’s Dream, with music by Cecil Sharp, and Maria Aberg’s 2013 staging of As You like It, featuring music from the ‘neo-folk’ artist Laura Marling. Discussion broadens beyond Shakespeare in performance to consider what conflicts and contradictions about Shakespeare, ‘Englishness’, and ‘folk’ are suppressed or realized through aligning Shakespeare with a ‘folk’ aesthetic.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133901066","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 and Soviet Music 莎士比亚与苏联音乐

The Oxford Handbook of Shakespeare and Music Pub Date : 2018-09-12 DOI: 10.1093/oxfordhb/9780190945145.013.23

M. Assay

{"title":"Shakespeare and Soviet Music","authors":"M. Assay","doi":"10.1093/oxfordhb/9780190945145.013.23","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.23","url":null,"abstract":"Despite recurrent mutual suspicion between the Soviet Union and the West, Shakespeare was almost as sacrosanct to the Soviets as their own canonical authors were. Many of the greatest Soviet (and post-Soviet) adaptations and appropriations of Shakespeare’s works have been enhanced by musical scores provided by the most prominent composers of the time. During the Soviet regime, several of the most famous Shakespearean musical works were introduced to the repertoire, from Prokofiev’s Romeo and Juliet ballet to Shostakovich’s setting of Sonnet 66 and his film music for the screen adaptations of Hamlet and King Lear. Soviet composers were also active in the field of operatic adaptation of Shakespeare, though in this regard their works have received less international attention. Soviet musical responses to Shakespeare have inevitably been intertwined with the cultural-politico climate of the country, and in many ways they could be used as a means of understanding that context and the vacillations of artistic freedom. Disregarding boundaries between ‘learned’ and ‘popular’, this chapter offers an overview of the wide range of musical responses to Shakespeare and his works in Russia and the Soviet Union, covering works in which music has been central (as in symphonic poems, operas, ballet, songs) or accompanying (theatre and film music).","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"32 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133076463","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