Actes des congrès de la Société française Shakespeare最新文献_第2页

‘All a matter of scale’? – Shakespearean acting and the cinema’s eyes and ears “一切都是规模问题”?莎士比亚的表演和电影的眼睛和耳朵

Actes des congrès de la Société française Shakespeare Pub Date : 2021-01-12 DOI: 10.4000/SHAKESPEARE.6300

R. Jackson

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Intertheatrical Cues and Shakespearean backstories 戏剧间线索和莎士比亚的背景故事

Actes des congrès de la Société française Shakespeare Pub Date : 2021-01-12 DOI: 10.4000/shakespeare.6199

William E. Engel

{"title":"Intertheatrical Cues and Shakespearean backstories","authors":"William E. Engel","doi":"10.4000/shakespeare.6199","DOIUrl":"https://doi.org/10.4000/shakespeare.6199","url":null,"abstract":"This study addresses the boundary between the stage and lived experience by focusing on evocations of prior histories of Shakespeare’s characters. Taking the battle of wit carried out by means of commonplaces and proverbs in Henry V (3.7) as a focal case study, as well as considering other such telling moments in The Merchant of Venice, Antony and Cleopatra, Much Ado, Hamlet, Cymbeline, and Henry V, my investigation offers a viable approach to staging the presentation of characters’ backstories. My goal is to recover and comment on a set of principles for understanding one of the chief ways in which the Shakespearean text is set up to guide both affective and expressive interpretation of characters. More broadly, this paper involves larger questions of how memory shapes identity, including the forging of memorable moments within the given performance reflecting normative stage business and other embodied forms of intertheatricality. This essay demonstrates how attention to the playwright’s well-placed and condensed seeds of discourse—like proverbs themselves—unfold to convey whole histories and thus a backlog of information that can aid in audience understanding of characters’ interactions that motivate stage activity as well as advance the plot arc. The critical insights brought out in this essay, concerning mnemotechnical cues and declamatory triggers to conjure plausible backstories leading to incipient action in the world of the play, can be used to explore more purposefully the built-in possibilities for moving a Shakespearean text from page to stage.","PeriodicalId":311828,"journal":{"name":"Actes des congrès de la Société française Shakespeare","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126942908","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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Re-defining the Shakespearean Actor: Casting and Diversity at Shakespeare’s Globe under Emma Rice and Michelle Terry 重新定义莎士比亚演员:艾玛·赖斯和米歇尔·特里在莎士比亚环球剧院的选角和多样性

Actes des congrès de la Société française Shakespeare Pub Date : 2021-01-12 DOI: 10.4000/SHAKESPEARE.6048

M. Thomas

{"title":"Re-defining the Shakespearean Actor: Casting and Diversity at Shakespeare’s Globe under Emma Rice and Michelle Terry","authors":"M. Thomas","doi":"10.4000/SHAKESPEARE.6048","DOIUrl":"https://doi.org/10.4000/SHAKESPEARE.6048","url":null,"abstract":"This paper evaluates casting practices at Shakespeare’s Globe under the artistic directorships of Emma Rice (2016-17) and Michelle Terry (2018-) in the context of diversity. It explores the casting and subsequent optics of two productions: Rice’s Twelfth Night in 2017, and Terry’s Hamlet the following year. I argue that traditional ideas of the “Shakespearean actor” have shifted in an age where companies move towards greater inclusivity, allowing for more diverse casting of people of colour, people with disabilities, and cross-gender casting. Through the processes of embodiment, these casting choices add paratextual readings onto productions, which can provide improved agency for traditionally-marginalised communities, but can also replicate problematic readings. In essence, this article argues that diverse casting practices alone are not enough to provide opportunity and agency for underrepresented identities in theatrical productions. If such diverse casting practices are happening – which they should – then care must be taken not to perpetuate out-dated and harmful stereotypes of Black, disabled, and/or queer people. Inclusive casting fails in its aims if it reduces already marginalised people to the margins yet further, therefore representation onstage is not enough: the stories that these bodies tell must be empowering before the bodies themselves can be empowered.","PeriodicalId":311828,"journal":{"name":"Actes des congrès de la Société française Shakespeare","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131875476","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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Actors’ Annotations and Paradoxical Editions of Shakespeare’s Texts 演员对莎士比亚文本的注解与矛盾版本

Actes des congrès de la Société française Shakespeare Pub Date : 2021-01-12 DOI: 10.4000/SHAKESPEARE.5993

Arlynda L. Boyer

{"title":"Actors’ Annotations and Paradoxical Editions of Shakespeare’s Texts","authors":"Arlynda L. Boyer","doi":"10.4000/SHAKESPEARE.5993","DOIUrl":"https://doi.org/10.4000/SHAKESPEARE.5993","url":null,"abstract":"Theatre makes its backstage texts – including the playwright’s script – disappear, subsumed into a seemingly real history or tragedy or comedy, or at least into an evening of shared imaginative play between actor and audience. And yet not so, for with a text ‘twas made. My goal is to undo this vanishing act, to make visible and to study the theatrical texts that are obscured by performance. They constitute our only archive of the process of interpreting Shakespeare. Backstage theatrical documents, from early modern to present-day, represent not the polished production, but living, working theatre, captured mid-creation. Considering how thoroughly backstage documents are hidden from the staged performance and from the textual and even the theatrical history of Shakespeare’s plays, it might be surprising how extensive they are – and, unfortunately, how few of them survive in archives. Actors’ marginalia, in particular, capture uniquely creative minds meeting uniquely challenging roles, at a unique moment in time, and textualizing that meeting. I argue here for their value, for their preservation, and for a new idea of their use for scholars: as the basis for an approach to editing more reflective of modern theatrical practice and more engaging for readers.","PeriodicalId":311828,"journal":{"name":"Actes des congrès de la Société française Shakespeare","volume":"292 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134256077","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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A Sport for Gentle Bloods 温和血统的运动

Actes des congrès de la Société française Shakespeare Pub Date : 2020-07-04 DOI: 10.4000/shakespeare.5372

B. Boehrer

{"title":"A Sport for Gentle Bloods","authors":"B. Boehrer","doi":"10.4000/shakespeare.5372","DOIUrl":"https://doi.org/10.4000/shakespeare.5372","url":null,"abstract":"Le present article envisage a nouveaux frais les liens entre le traite sur la chasse de George Gascoigne, The Noble Arte of Venerie (1575) et Comme il vous plaira (1598) de Shakespeare. Contrairement a l’idee selon laquelle ces œuvres prefigurent la sensibilite moderne aux droits des animaux, il s’agit de les comprendre a l’aune de relation inter-especes plus anciennes et moins souples. Cette perspective plus datee, conformement a la doctrine du peche originel, voit l’humanite dechue naturellement encline a la predation et au conflit et inapte par constitution aux pratiques pacifiques. Aussi les sentiments anti-cynegetiques attribues au Duc aine dans Comme il vous plaira invoquent-ils un ideal d’harmonie edenique semblable aux mises en scene des divertissements royaux composes par Gascoigne et d’autres pour la reine Elisabeth (dont il a ete demontre qu’ils representaient une source majeure de la langue de la comedie shakespearienne). A l’inverse, Jaques assimile les memes sentiments anti-cynegetiques au registre de la satire, marquant ainsi leur eloignement de la realite. Dans la piece, l’ensemble des reponses opposees au reel (l’utopie et la satire, l’idealisation et l’accusation) trouvent a s’exprimer dans le double spectacle final, le masque pour le mariage de Rosalinde et la procession charivaresque de Jaques, les deux etant reunis en une sorte de discordia concors. Dans cette harmonie de contrastes, l’utopie comme la satire rejettent la possibilite d’un comportement ideal dans l’ici et maintenant. Le traite de Gascoigne, de la meme facon, repousse a la marge ses sentiments anti-cynegetiques en les presentant sous forme d’exercices versifies, liminaires et cosmetiques, soit plutot rhetoriques que reels. Releguant la sympathie inter-especes au domaine de l’inaccessible et du prelapsaire, Gascoigne et Shakespeare tranchent dans le sens d’une vision du monde d’apres la chute qui serait ethiquement et ecologiquement irreparable. Peut-etre ne faut-il pas voir comme une coincidence le fait que ce monde prefigure l’environnement qui caracterise des pieces plus tardives telles que Le Roi Lear ou Macbeth.","PeriodicalId":311828,"journal":{"name":"Actes des congrès de la Société française Shakespeare","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129978829","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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An animal by any other name : identité culturelle et symbolisme animal dans le Roméo et Juliette d’Oh Tae-Suk 以任何其他名字命名的动物:身份识别文化和象征主义动物舞蹈家le romsamo et Juliette d 'Oh Tae-Suk

Actes des congrès de la Société française Shakespeare Pub Date : 2020-07-04 DOI: 10.4000/shakespeare.5672

Charlène Cruxent

{"title":"An animal by any other name : identité culturelle et symbolisme animal dans le Roméo et Juliette d’Oh Tae-Suk","authors":"Charlène Cruxent","doi":"10.4000/shakespeare.5672","DOIUrl":"https://doi.org/10.4000/shakespeare.5672","url":null,"abstract":"Depuis 1999, la representation du Romeo et Juliette d’Oh Tae-Suk a ete interpretee dans plusieurs pays. Des changements importants sont survenus depuis la premiere, mais certains elements ont perdure : la Nourrice s’adresse a son entourage avec des noms d’animaux et les acteurs portent des masques d’animaux lors de la scene du bal. L’imaginaire animal ainsi que la reference a l’astrologie (signes du zodiaque) permettent d’identifier et de caracteriser les personnages sur scene, element de la culture coreenne qu’Oh Tae-Suk ajoute a l’intrigue shakespearienne. Cependant, ce n’est pas suffisant pour resumer l’esthetique d’Oh Tae-Suk. D’autres aspects essentiels contribuent a faire de l’histoire des amants maudits un theme universel, comme l’absence de noms propres et la presence de masques animaliers. Les effets visuels et sonores sur scene remplacent les mots presents dans la tragedie shakespearienne, presentant ainsi l’amour entre deux etres comme transcendant le langage. Ce compte rendu critique demontre comment l’imaginaire animal tel qu’utilise dans la representation du Romeo et Juliette d’Oh Tae-Suk, qui a eu lieu en 2018 au theâtre national de Craiova en Roumanie, fait partie integrante de l’esthetique du metteur en scene sud-coreen. Grâce a l’alliance d’une dramaturgie « europeenne » et d’elements culturels coreens, Oh Tae-Suk repand un message d’espoir pour une paix universelle a l’echelle internationale adaptant une tragedie shakespearienne que sa troupe de theâtre expose aux quatre coins du monde.","PeriodicalId":311828,"journal":{"name":"Actes des congrès de la Société française Shakespeare","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130852729","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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« A man sure is a kind of beast » : Étude écoféministe de la pastorale anglaise au tournant du XVIIe siècle “一个人肯定是一种野兽”:17世纪初英国牧区的生态女性主义研究

Actes des congrès de la Société française Shakespeare Pub Date : 2019-06-05 DOI: 10.4000/shakespeare.5340

M. Cordier

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Fortune Unbound in Othello 《奥赛罗》里的自由命运

Actes des congrès de la Société française Shakespeare Pub Date : 2019-01-02 DOI: 10.4000/shakespeare.4693

L. S. Meskill

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Removing the Bars for Collaborative Shakespeare 消除合作莎士比亚的障碍

Actes des congrès de la Société française Shakespeare Pub Date : 2019-01-02 DOI: 10.4000/SHAKESPEARE.4630

Pamela Monaco

{"title":"Removing the Bars for Collaborative Shakespeare","authors":"Pamela Monaco","doi":"10.4000/SHAKESPEARE.4630","DOIUrl":"https://doi.org/10.4000/SHAKESPEARE.4630","url":null,"abstract":"The United States is home to the largest prison population in the world. The incarcerated too often are viewed as appropriately warehoused as they pay their debt to society. Enlightened prison wardens and artist educators know the value of using prison time to rehabilitate through education, and Shakespeare theatre programs demonstrate success at reducing recidivism rates and returning citizens to more productive lives. Introducing college students to these programs transforms the students’ learning experience. The layers of collaboration—between text and performer, between performance and audience (inmates), between inmates and students, and between students and theatre—continue to evolve. This essay explores the ways in which Shakespeare unshackled by expectation—of who can appreciate the work, how it can be performed, and how the privileged and the disenfranchised can be joined by Shakespeare—produces greater insights into the plays and the human. Using voices and experiences of both inmates and students, this essay explores this unorthodox way of understanding collaboration, the ways in which an alternate performance text comes to the stage, and provides insight into how and why this approach to Shakespeare transforms a prison population and those engaged in these productions.","PeriodicalId":311828,"journal":{"name":"Actes des congrès de la Société française Shakespeare","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125136176","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 the Artist’s Book: Sequence, Series, and Adaptation 艺术家之书中的莎士比亚:顺序、系列与改编

Actes des congrès de la Société française Shakespeare Pub Date : 2019-01-02 DOI: 10.4000/shakespeare.4219

Jennifer A. Low

{"title":"Shakespeare in the Artist’s Book: Sequence, Series, and Adaptation","authors":"Jennifer A. Low","doi":"10.4000/shakespeare.4219","DOIUrl":"https://doi.org/10.4000/shakespeare.4219","url":null,"abstract":"Harry Graf Kessler’s Hamlet (1930), Arne Wolf’s Hamlet II:2 (1991), and the collaborative work The Bad Quarto (2015) use Hamlet to explore the possibilities of the artist’s book. In these works, a “Shakespeare text” functions as a tool for artistic experimentation. The resulting postmodern bricolage has implications for both the literary canon and the art form it represents. The artist’s book, linked with a well-known name, becomes something of an insouciant challenge to canonicity, while the presence of Shakespearean text lends legitimacy to the work. Spatial play and materiality forge the text and redefine what “text” is, and the use of Shakespeare in the artist’s book brings new meaning and vigor to our concept of “Shakespeare”. Concern with sequencing and correlation looms large in these works as well. The artists who create these works challenge the codex’s privileging of series: the forward movement of the series yields to the multivalent pleasures of sequence. White space becomes a visual silence that privileges the space in which text and images appear. The results are new forms of Hamlet that change our perception of Shakespeare’s version of the story.","PeriodicalId":311828,"journal":{"name":"Actes des congrès de la Société française Shakespeare","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132927243","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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