Shakespeare in Southern Africa最新文献_第4页

Thinking Like Shakespeare – Today 像莎士比亚一样思考——今天

Shakespeare in Southern Africa Pub Date : 2020-12-04 DOI: 10.4314/SISA.V33I1.11

T. Voss

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A Question of ‘Honour’: Anne Barnard, social justice and the Henriad “荣誉”问题:安妮·巴纳德、社会正义与亨利亚德号

Shakespeare in Southern Africa Pub Date : 2020-12-04 DOI: 10.4314/SISA.V33I1.9

L. Wright

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“Did not great Julius bleed for justice’ sake?”: Examining a theory of social justice through will-making in Shakespeare’s Julius Caesar 伟大的朱利叶斯不是为了正义而流血吗?:在莎士比亚的《凯撒大帝》中，通过立遗嘱来考察社会正义理论

Shakespeare in Southern Africa Pub Date : 2020-12-04 DOI: 10.4314/SISA.V33I1.8

Lisa M. Barksdale-Shaw

{"title":"“Did not great Julius bleed for justice’ sake?”: Examining a theory of social justice through will-making in Shakespeare’s Julius Caesar","authors":"Lisa M. Barksdale-Shaw","doi":"10.4314/SISA.V33I1.8","DOIUrl":"https://doi.org/10.4314/SISA.V33I1.8","url":null,"abstract":"This article submits that, in Julius Caesar, Caesar’s will functions as the pivotal, legal instrument that subscribesa path toward social justice for every Roman citizen by providing an economic legacy, and simultaneouslyovershadows the deadly allegations against Caesar, thereby highlighting his reputedly vile, tyrannical rule andexposing the calculating motives of Cassius and Brutus. The conveyance of land – as an act of empowering theRoman people – creates a strategic way toward leveraging economic power into their hands. I examine Caesar’swill, Roman inheritance, and Caesar’s legacy. I find similarities with the more recent South African legislationsurrounding land expropriation “in the public interest” with an effort “to tackle injustices”. The article alsoexamines how law negotiates as theatrical stage property, and as a legal instrument to gauge the rights of aneconomically undervalued class. Here, this analysis surveys justice, the law, and material culture, as a way tointerrogate this distinctive Roman history while considering written evidence, particularly its negotiation as afundamental, early modern legal vehicle","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130680026","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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Illuminating Shakespeare’s Terra Anglia 照亮莎士比亚的Terra Anglia

Shakespeare in Southern Africa Pub Date : 2020-12-04 DOI: 10.4314/SISA.V33I1.10

T. Voss

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Accents and Original Pronunciation as Tools for Teaching and Performing Shakespeare in South Africa 口音和原始发音作为教学和表演莎士比亚在南非的工具

Shakespeare in Southern Africa Pub Date : 2020-11-26 DOI: 10.4314/SISA.V33I1.4

Fiona Ramsay

{"title":"Accents and Original Pronunciation as Tools for Teaching and Performing Shakespeare in South Africa","authors":"Fiona Ramsay","doi":"10.4314/SISA.V33I1.4","DOIUrl":"https://doi.org/10.4314/SISA.V33I1.4","url":null,"abstract":"In multicultural and multilingual South Africa, recent initiatives to decolonise curricula have suggested dispensing with the works of Shakespeare and other ‘Western’ texts to make space for African and postcolonial texts. The elevated and archaic language of classical texts often proves difficult for students to access comprehensively and discourages their interest or engagement. This article gives an account of the author’s interventions in the field of Theatre and Performance, and specifically vocal pedagogy, to tackle the language conundrum and therefore to broaden entry into and to invigorate Shakespeare’s plays. The study of Original Pronunciation (OP) is proposed as a means of ‘levelling the playing field’. In the project described, characters from the Shakespearean canon are chosen as possibly representative of individual students’ cultural backgrounds; then key speeches are translated into students’ first/home languages, spoken in the accents of those languages, shared and discussed before an engagement with the sounds of OP. The project culminates in a production and an analysis of how the language shifts described can increase access to, and understanding of, text. The article concludes that the exploration of accents and OP in studying Shakespeare’s works proves an invaluable tool.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128629264","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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Kunene and the King and The Fall in the Age of #MeToo, #FeesMustFall and Black Lives Matter 在“我也是”、“学费必须下降”和“黑人的命也是命”的时代，库内内、国王和堕落

Shakespeare in Southern Africa Pub Date : 2020-11-26 DOI: 10.4314/SISA.V33I1.7

D. Schalkwyk

{"title":"Kunene and the King and The Fall in the Age of #MeToo, #FeesMustFall and Black Lives Matter","authors":"D. Schalkwyk","doi":"10.4314/SISA.V33I1.7","DOIUrl":"https://doi.org/10.4314/SISA.V33I1.7","url":null,"abstract":"This article pairs and compares John Kani’s play Kunene and the King (in which Kani has starred opposite Antony Sher) and the collaborative Baxter Theatre production The Fall. Kunene and the King – devised in South Africa, produced by the Royal Shakespeare Company in England, exported to Cape Town’s Fugard Theatre in May 2019, and revived at London’s Ambassadors Theatre in the West End in early 2020 – employs King Lear as a scaffold. It is a two-hander about race in contemporary South Africa: an encounter between two very different men, who find themselves trying to span the gap between black and white. The argument presented in this article is that the play’s ostensible realism is a screen, behind which lies complex metaphorical and allegorical depth. Whereas Kunene and the King attempts to deal with the present by evoking and working through memory and history located in two separate, exemplary consciousnesses, The Fall, though narrated in the past tense, is rooted in the necessities of the present. The latter play is a response to, and a re-telling of, the student protests of 2015–16; as the characters finally split along differentiated lines of regret, anger and aspiration, #RhodesMustFall is challenged by #MeToo. In this way, The Fall exposes a fatal silence between the two men of Kunene: women have no voice in Kani’s play. The article ends with a coda re-situating the two plays under discussion in the context of Black Lives Matter and other protests in 2020.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115693343","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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Dispossession and Disintegration, Pity and Fear: The instrumentality of objects in two productions of King Lear 剥夺与解体，怜悯与恐惧:《李尔王》两部作品中客体的工具性

Shakespeare in Southern Africa Pub Date : 2020-11-26 DOI: 10.4314/SISA.V33I1.5

Sarah Roberts

{"title":"Dispossession and Disintegration, Pity and Fear: The instrumentality of objects in two productions of King Lear","authors":"Sarah Roberts","doi":"10.4314/SISA.V33I1.5","DOIUrl":"https://doi.org/10.4314/SISA.V33I1.5","url":null,"abstract":"Acknowledging the limits of theatre activism in the face of escalating displays of power and social injustices which define a contemporary context for staging Shakespearean (and classical) tragedy, this article reflects on the Take Away Shakespeare Company production of King Lear (1998) and on Jonathan Munby’s National Theatre production of the play (2018). As a member of the creative team of the 1998 production, the author takes on the quasi-archaeological exercise of piecing together residual fragments. Following Stephen Halliwell, the article revisits the value of pity and fear as critical tools for analysing modes of response, since these may be more analytically productive than empathy, which suffers from extended application and overuse. The roles of spectator and designer both raise pressing questions about theatre as a medium in relation to the intertwining of form and reception. The affective impact of intertwined word and image – actor and object – invites analysis of the rhetoric of the objects embedded in the action of Shakespeare’s plays. In King Lear, variously deployed, ‘things’ augment words as crucial mechanisms for advancing action and staging violations of human life and dignity, triggering responses of pity and fear.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131950740","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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Positionality and Performance: Staging Antony and Cleopatra for South African schools in the context of decolonisation imperatives 定位和表现:在非殖民化的背景下，为南非学校上演安东尼和克利奥帕特拉

Shakespeare in Southern Africa Pub Date : 2020-11-26 DOI: 10.4314/SISA.V33I1.3

Néka Da Costa

{"title":"Positionality and Performance: Staging Antony and Cleopatra for South African schools in the context of decolonisation imperatives","authors":"Néka Da Costa","doi":"10.4314/SISA.V33I1.3","DOIUrl":"https://doi.org/10.4314/SISA.V33I1.3","url":null,"abstract":"Since the start of the #RhodesMustFall and #FeesMustFall campaigns in 2015–16, decolonisation has been a prominent topic in the South African academy. Yet practical guidance as to how one might start to apply decolonisation and transformation strategies tangibly, both in education and pedagogy – and, more precisely for the purposes of this article, in theatre and performance spaces – has been in short supply. By adopting a dialogic approach which prioritises the voices of her collaborators, the author contextualises and critiques some of the key creative, philosophical and pedagogical strategies employed while rehearsing and performing a school’s touring production of Antony and Cleopatra for the National Children’s Theatre in 2018. Shakespeare is a symbol of colonial and imperial legacies, and the relevance of his work in both English and Performance Studies curricula merits scrutiny, as does the way in which we discuss, teach, perform and value it. Through an unfolding acknowledgement of the author’s own positionality in relation to the text and its performance in a contemporary South African context, this article exemplifies some of the contradictions and productive discoveries of the Antony and Cleopatra process, in the hopes of contributing to a more action-based approach to decolonisation and social justice in practising the arts and in arts education.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121994107","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

Lear, Land and Expropriation without Compensation 土地与无偿征用

Shakespeare in Southern Africa Pub Date : 2020-11-26 DOI: 10.4314/SISA.V33I1.6

Geoffrey Haresnape

{"title":"Lear, Land and Expropriation without Compensation","authors":"Geoffrey Haresnape","doi":"10.4314/SISA.V33I1.6","DOIUrl":"https://doi.org/10.4314/SISA.V33I1.6","url":null,"abstract":"King Lear has been extensively used by Shakespearean critics in South Africa for the discussion of land ownership issues. This essay alludes to the work of Martin Orkin and Nicholas Visser, who brought postcolonial and materialistic critiques to bear upon the play in the late twentieth and early twenty-first centuries. The essay itself carries the investigation forward to present times, when the text asks to be read in relation to expropriation without compensation: a land proposal being ventilated at the highest political level. The issues which emerge are diverse and unexpected. King Lear’s gifts of land to his daughters are actually ‘deals’ requiring the compensation of their public declarations of love for him. For various reasons this strategy fails. The reader is then invited by the play’s imagery to see the body of the old king as a piece of ‘real estate’ that is incrementally expropriated by the ageing process and the onset of dementia. Spenser’s allegory of the House of Temperance in Book II of The Faerie Queene is discussed as a likely influence here. By the end of the play, Lear is divested of his own bodily health and cognitive ability by the arch expropriator, ‘time’, and its subaltern, the fallible human cell. With regard to critical reception, this essay argues that King Lear has complexity and substance enough to engage the interest of postcolonialists, materialists and universalists alike – even in relation to a topic as specific as land.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133010850","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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Close Encounters: Staging Julius Caesar, Coriolanus and Antony and Cleopatra in contemporary South Africa 近距离接触:尤利乌斯·凯撒、科里奥兰纳斯、安东尼和克利奥帕特拉在当代南非的表演

Shakespeare in Southern Africa Pub Date : 2020-11-26 DOI: 10.4314/SISA.V33I1.2

M. D. Waal

{"title":"Close Encounters: Staging Julius Caesar, Coriolanus and Antony and Cleopatra in contemporary South Africa","authors":"M. D. Waal","doi":"10.4314/SISA.V33I1.2","DOIUrl":"https://doi.org/10.4314/SISA.V33I1.2","url":null,"abstract":"Is there room, as Natasha Distiller asked in 2012, for a “close encounter” with Shakespeare in post-apartheid South Africa? This question has become increasingly pertinent. Following the Fallist movements which were ignited at universities across the country in 2015, calls for the decolonisation of curricula and cultural institutions have been coupled with growing resistance against pervading socio-economic inequalities. Amongst other things, the student protests represented a rejection of “old ways of reading” characterised in both ideological and material terms by exclusion, lack of access and disempowerment. This article suggests that Distiller’s question may be engaged with reference to stage adaptations of Shakespeare’s plays in educational and/or academic settings which took place before, during and after the student movements of 2015–16. These are two productions by the National Children’s Theatre aimed at secondary school students – Coriolanus (2016) and Antony and Cleopatra (2018) – and two university productions: The Julius Caesar Project (2013) at the University of the Witwatersrand, and DCoriolanus (2017) at the University of Pretoria. Through close consideration of the strategies and decisions employed in staging these productions, the paper argues that the medium of theatre, and the ways in which it has been used by South African performers and theatre-makers, is key to understanding how both subversive and productive “close encounters” with Shakespeare might be enacted","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121440361","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