Shakespeare Bulletin最新文献

{"title":"The Tempest by Shakespeare's Globe (review)","authors":"","doi":"10.1353/shb.2023.a910442","DOIUrl":"https://doi.org/10.1353/shb.2023.a910442","url":null,"abstract":"Reviewed by: The Tempestby Shakespeare's Globe Meg Cline The TempestPresented by Shakespeare's Globe, London. 908– 2210 2022. Directed by Sean Holmes. Designed by Paul Wills. Costume design by Jackie Orton. With Rachel Hannah Clarke (Ariel), Ralph Davis (Trinculo), George Fouracres (Stefano), Joanne Howarth (Francisco), Oliver Huband (Ferdinand), Nadi Kemp-Sayfi (Miranda), Ciarán O'Brien (Caliban), Ferdy Roberts (Prospero), and others. Continuing a successful summer of exemplary creative productions, Shakespeare's Globe presented The Tempestin modern dress under the direction of Sean Holmes. Filled with undeniable humor, Holmes and company's production was able to raise important issues of overconsumption and colonialism for the assembled crowds through a night of delightfully produced theatrical spectacle, a testament to the idea that a Jacobean play can resonate powerfully in the present. In keeping with a setting in an unspecified recent time period, most of the male characters wore basic suits. What the audience surely was not prepared for was the \"suit\" worn by Prospero: tiny yellow swim briefs. While the talented Ferdy Roberts presented Prospero as more an unhinged island dweller with a trash-bound grimoire than a malicious wizard, his costume made it difficult to concentrate on his acting at first (I found myself instead wondering about the integrity of the swimsuit as he ran and jumped about onstage.) The moment he removed his patchwork magician's robe to reveal the yellow briefs got a welcome laugh after the dramatic opening storm, though, and the costume choice proved to be only a \"brief\" distraction from Roberts's nuanced portrayal of the wizard. This initial shock which quickly gave way to indifference mirrored the production's attitudes toward the cheap and disposable items that modern consumers are drawn to buy: flashy and attention-grabbing products which quickly lose their desired effects and become commonplace, whether onstage or in modern society. Later in the production, Prospero's penchant for \"fine\" clothes was displayed during the memorable attempt by Caliban (Ciarán O'Brien), [End Page 273]Trinculo (Ralph Davis), and Stefano (George Fouracres) to break into Prospero's chambers. The trio had excellent chemistry and stole the show with their comedic mischief every time they took to the stage—including during their attempted \"magicide\" in act four. As the distracted Trinculo and Stefano rummaged through a chest of Prospero's garments, they pulled out their own \"fine\" robes to wear—a Gryffindor scarf, robes, glasses, and a Nimbus 2000 for Stefano, and a large brown overcoat and wiry fake beard for Trinculo. At the production I attended, the audience was left in stitches as the two raced to put on the attire as they quoted and enacted a few well-known Harry Potter moments. All the while, O'Brien's Caliban was left standing center stage, his deepening despair on full display as his plan to overthrow Prospero became increasingly d","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194930","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}

{"title":"\"This is and is not Cressid\": Seeing Double in Shakespeare's Troilus and Cressida","authors":"William G. Roudabush","doi":"10.1353/shb.2023.a910440","DOIUrl":"https://doi.org/10.1353/shb.2023.a910440","url":null,"abstract":"Abstract: This article offers a new interpretation of Shakespeare's Troilus and Cressida in the context of \"that terrible Poetomachia \" at the turn of the seventeenth century. It argues that Shakespeare stages a microcosm of the poets' war between the recently revived children's companies and the professional theater. Shakespeare appropriates conventions from the boy company repertories to defend against their caricatures of professional playing and its system of apprenticeship. Reading the play as a whole, and the character of Cressida in particular, as perspectival double images, it shows how Shakespeare uses the indeterminate body of the boy actor playing Cressida to create a visual analogy between the two and to foreground their shared dramatic situations. Through the figure of Cressida, Shakespeare metatheatrically dramatizes the vulnerability and exploitation of Elizabethan boy actors caught between warring theaters, and in doing so weaves the War of the Theaters into the Trojan War to reflect on his own contemporary theatrical market.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194918","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}

{"title":"Romeo and Juliet by Lyric Theatre (review)","authors":"","doi":"10.1353/shb.2023.a910447","DOIUrl":"https://doi.org/10.1353/shb.2023.a910447","url":null,"abstract":"Reviewed by: Romeo and Julietby Lyric Theatre Molly Quinn-Leitch Romeo and JulietPresented by the Lyric Theatre, Belfast. 402– 503 2023. Dramaturgy by Anne Bailie. Directed by Philip Crawford. Set design by Robin Peoples. Lighting design by James C. McFetridge. Costume design by Gillian Lennox. Music composed by Chris Warner. With Adam Gillian (Romeo), Emma Dougan (Juliet), Thomas Finnegan (Mercutio/Apothecary), Patrick Buchanan (Lord Capulet), Rosie McClelland (Lady Capulet), Ray Sesay (Friar Laurence), Eugene Evans (Count Paris), Finnian Garbutt (Benvolio), and others. Philip Crawford's Romeo and Julietopened the Lyric Theatre's 2023 season on a cold, damp February evening in Belfast, contrasting with the hot Verona summer of the play's setting. Noting that this production was the company's twenty-fifth Shakespeare production on Ridgeway Street and the first production of Romeo and Julietsince 1971, the program celebrated the legacy of the Lyric's founder Mary O'Malley (who started the formative theater in her back garden shed in 1951) and affirmed their commitment to \"bringing the classic text into a modern-day setting\" for Belfast audiences. Indeed, the modern setting of this production was immediately apparent as I took my seat in the auditorium, the set design juxtaposing Italian Renaissance inspired architecture with a digital advertisement board, which was scrolling through adverts for brands such as Aperol and mock magazine covers featuring shots of Romeo and Lady Capulet, among other characters. The set designer, Robin Peoples, situated the production in a Verona inspired by Italian luxury and high fashion, with opera arias playing before the show began to reinforce the production's continental backdrop. Costume designer Gillian Lennox created branding for both feuding families, with two \"C\"s aligned beside a centered figure of a puma for the House of Capulet and \"MONTAGUE\" crowned by a capital \"M\" for the House of Montague. These distinctive logos were incorporated into the modern designer wardrobe utilized throughout the play to distinguish the houses within this fashion-forward Verona. Crawford and voice and text coach Michael Corbridge still managed to preserve a sense of familiarity and localism in line delivery as most of the actors kept their distinct Northern Irish accents. Whilst the most obvious method of differentiating between the Montagues and Capulets of Romeo and Julietin a Belfast theater might be to fit them within either a Nationalist or Unionist template, this production was purposefully nonsectarian. Instead, as suggested by the digital [End Page 293]magazine covers, the families were presented as rival haute couture fashion houses, a spin on Shakespeare's \"Two households, both alike in dignity\" (Prologue 1). Crawford commented in the program that the production had made a conscious decision to avoid any \"analogy between the feuding families and the sectarian politics of Northern Ireland.\" The absence of this sectari","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194932","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}

{"title":"Much Ado About Nothing by Shakespeare Theatre Company at Sidney Harman Hall (review)","authors":"","doi":"10.1353/shb.2023.a910446","DOIUrl":"https://doi.org/10.1353/shb.2023.a910446","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"243 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194919","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}

{"title":"Process of Departures: Conversations and Practice in Adapting Titus Andronicus","authors":"Stephen Drover","doi":"10.1353/shb.2023.a910441","DOIUrl":"https://doi.org/10.1353/shb.2023.a910441","url":null,"abstract":"Abstract: While most adaptation scholarship has predominantly concentrated on product—comparing source material to adapted script—there is a noticeable lack of process analysis applied to understanding new adaptations. The focus of this article is to examine the working process of adaptation under the permissive classification of \"departure\" from a rehearsal room perspective, and to propose a framework for analyzing that process. This article endeavors to answer the question of what the working process of intentionally departing from Shakespeare looks like in our contemporary theater practice. Using autoethnography, ethnography, and literature review, I detail and compare the creation processes of two contemporary Shakespeare departures based on Titus Andronicus—The Society for the Destitute Presents Titus Bouffonius and Black Fly—and propose an analytical framework that is based on collaboration between artists, negotiations of fidelity, and a reclamation of narrative.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194920","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}

{"title":"Galatea by Treehouse Shakespeare Ensemble at The Wharf Studio (review)","authors":"","doi":"10.1353/shb.2023.a910443","DOIUrl":"https://doi.org/10.1353/shb.2023.a910443","url":null,"abstract":"Reviewed by: Galateaby Treehouse Shakespeare Ensemble at The Wharf Studio Cory Drozdowski GalateaPresented by Treehouse Shakespeare Ensemble at The Wharf Studio, Staunton, VA. 1911 2022, 2111 2022, and 25–2603 2023. Directed by Cole Metz. Dramaturgy by Keith Taylor. With Ariel Tatum (Galatea/others), Kara Hankard (Phillida/others), Beth Harris (Tityra/Melebea/others), Rosemary Richards (Rafe/others), and Mikaela Hanrahan (Cupid/others). In John Lyly's Galatea, the opportunity—or necessity—of trying on different identities provides the perfect environment for liberated self-discovery. Whether through exploring their sexuality while disguised as boys in the forest or trying on the hats of various mystic teachers, the central characters of the play find the stimulus for individual truth and learning in the upheavals and inversions that animate the action of the plot. Treehouse Shakespeare Ensemble's production brought this out through a wonderful sense of play that supported the liberated exploration of the young characters. The play's overall structure follows, essentially, three primary plotlines. The first is the love story between the two girls—Galatea and Phyllida—disguised as boys. So disguised by their parents in order to avoid being sacrificed to Neptune's monster, The Agar, the two girls meet in the forest and fall for each other, not realizing that they are both actually girls. The second plot follows the marooned Rafe, who splits from his brothers in [End Page 276]the pursuit of a living before sequentially encountering and attempting to be an apprentice to increasingly ridiculous mystical masters. Finally, the third plot sees the prankster Cupid messing with Diana's nymphs by making them fall in love against their mistress's code of chastity. Throughout each of these stories, elements of Treehouse Shakespeare Ensemble's production and its performance choices highlighted the themes of playful self-exploration. This sense of play was most prominently highlighted in the company's choice of a framing device that—quite appropriately for the themes of open, youthful exploration—set up the performance as a tale being spontaneously recreated by a troupe of girl scouts. The scouts entered the space to hide for a brief game of hide-and-seek, then regrouped in a circle for what became the impetus for one scout to start the story of The Agar, which kicked off the story of the play itself. Once they all joined in, the scouts spread to the corners of the thrust space to gather items, light the playing space with their flashlights, and wait for opportunities to jump in as one of the characters. For a production that was part of the ensemble's \"small scale\" series—in which the company had only five actors to fill all the play's roles—this framing device proved effective and efficient in both believably answering the technical challenges and further contributing to the production's presentation of playful exploration. The need to rapidly switch between c","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194928","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}

{"title":"By the Queen by Trinity Rep at Lederer Theater Center (review)","authors":"","doi":"10.1353/shb.2023.a910453","DOIUrl":"https://doi.org/10.1353/shb.2023.a910453","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194923","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}

{"title":"Enter Ghost: An Immersive Haunted Hamlet Experience by Kentucky Shakespeare (review)","authors":"","doi":"10.1353/shb.2023.a910445","DOIUrl":"https://doi.org/10.1353/shb.2023.a910445","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194927","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}

{"title":"From the General Editor: \"The land is burning\"","authors":"","doi":"10.1353/shb.2023.a910438","DOIUrl":"https://doi.org/10.1353/shb.2023.a910438","url":null,"abstract":"Abstract: This editorial reflects on community-forming in relation to Shakespeare performance, from the role played by Shakespeare Bulletin over its forty-year history, to the contingencies and vulnerabilities revealed by the environmental catastrophes of summer 2023. The editorial also introduces changes to the Shakespeare Bulletin team, welcoming Hailey Bachrach and Benjamin Broadribb as the new editors of the journal's performance reviews section.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194916","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}

{"title":"Queen of Egypt and Queen of the Bey-Hive: Sophie Okonedo's Cleopatra at the National Theatre (2018)","authors":"Sujata Iyengar","doi":"10.1353/shb.2023.a910439","DOIUrl":"https://doi.org/10.1353/shb.2023.a910439","url":null,"abstract":"Abstract:Combining the methods of traditional theater history with semiotics and digital cultural studies, this article focuses particularly on Simon Godwin's production of Antony and Cleopatra at the National Theatre (2018) and on the avowed inspiration of the Nigerian-Jewish-descended British actress Sophie Okonedo by the world-famous vocalist, digital producer, and media celebrity Beyoncé Knowles-Carter (usually known simply as Beyoncé). Godwin's production carefully used a multiethnic cast and placed particular emphasis upon the relationship between Cleopatra and other women, both allies and enemies, in part by strategically reassigning Dolabella's lines to Octavia and thus creating an encounter between Cleopatra and Octavia that never happens in the Folio text. The article speculates that using allusions to Beyoncé out of context (away from the rich intertext of the film Lemonade [2016], for example, and away from transnational Black feminist debate) and to a majority-white British audience membership risked diluting Beyoncé's nuanced and politicized commentary—and, perhaps, diminished the nuanced treatment of labor and gender in Shakespeare's play. The investigation concludes, however, with a reflection upon the pros and cons—for artists and for audiences—of foregrounding digital subcultures in this way on stage and in academia.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194924","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}