Shakespeare in Southern Africa最新文献

{"title":"Review: The Storming by the Insurrections Ensemble","authors":"Dilip M. Menon","doi":"10.4314/sisa.v30i1.13s","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.13s","url":null,"abstract":"The idea of a storm condenses the anxieties of past sorrow, present distress, and future devastation. To\u0000call a production The Storming locates a predicament in the present continuous; as ongoing; as not yet\u0000resolved. It also suggests agency and a utopian instant from within a maelstrom: the storming of a bastion\u0000which needs to fall. In our present conjuncture, the world seems to be in the midst of resolving all senses\u0000of the word.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129640400","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 …” multiple directorial readings across histories and cultures","authors":"Deborah A Lutge","doi":"10.4314/sisa.v30i1.10s","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.10s","url":null,"abstract":"Four productions of Much Ado About Nothing performed at the 2016 Folkwang Shakespeare Festival elicited comparative analogies and socio-culturally distinct identities, evincing national boundaries and directorial concept. The interplay between written text, production text and audience reception qualifies relevance irrespective of creative intention; theatre productions therefore embed political context, shift perspectives on class, gender and philosophy, and re-engage cultural shifts by reshaping discourses and challenging patriarchal systems, hierarchies and gender narratives. Context, pivotal in connecting agency and ownership across histories and cultures, narrativises a realignment of paradigms. Construction, deconstruction and reconstruction all signify points of departure from boundaries and traditional restrictiveness. In reinterpreting a Shakespearean text, dialogism acknowledges the shifts in interpretative counterpoints and negotiates how reinterpretations function as valuable social signifiers. Reflecting on her experience of directing a South African Much Ado , the author poses various questions: In multiple readings, is it possible to remain true to the intentions of the originating text? Is theatrical authenticity owed to writer, artistic rereading or audience? In reimagining a world splintered by what is articulated, recalculated or rephrased, who owns transmission? In appropriated canonical texts, are colonially entrenched notions remarginalising or narrativising diasporas anew?","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129995659","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":"Review: The Robben Island Shakespeare by Matthew Hahn","authors":"M. Coetzee","doi":"10.4314/sisa.v30i1.12S","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.12S","url":null,"abstract":"Book Title: The Robben Island Shakespeare Book Author:  Matthew Hahn (London: Bloomsbury Methuen Drama, 2017). ISBN-10: 147428387X / ISBN-13: 978-1474283878","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"2020 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115216781","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":"A South African Romeo and Juliet : gender identity in Minky Schlesinger’s Gugu and Andile","authors":"C. Botha, Chris Broodryk","doi":"10.4314/SISA.V30I1.6S","DOIUrl":"https://doi.org/10.4314/SISA.V30I1.6S","url":null,"abstract":"This article examines how gender identity is represented in a filmic adaptation of Shakespeare’s play text Romeo and Juliet within South Africa’s postcolonial context, thereby positioning identity politics as crucial in the decolonial project. This article focuses on Minky Schlesinger’s South African adaptation of Romeo and Juliet titled Gugu and Andile (2009). Schlesinger’s film is compared to Franco Zeffirelli’s Romeo and Juliet (1968) and Baz Luhrmann’s William Shakespeare’s Romeo + Juliet (1996) to comparatively contextualise and sharpen an analysis of gender identity in Schlesinger’s film. In our analysis of the selected films we examine the mise-en-scene in each film to establish how the films comment on, subvert or maintain certain gender identities.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114321945","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":"Transformation’s Tempest: Miranda as a student of higher education in South Africa","authors":"Ayanda Khala-Phiri","doi":"10.4314/SISA.V30I1.9S","DOIUrl":"https://doi.org/10.4314/SISA.V30I1.9S","url":null,"abstract":"In this auto-ethnographic narrative, the author reflects on her experience of FeesMustFall protest action and questions Shakespeare’s relevance in decolonisation in the context of higher education in South Africa. As a means of exploring the notion of decolonised education as well as the effects of an ailing transformation agenda on the black higher education student, Shakespeare’s The Tempest is used as a metaphoric site. Shakespeare’s Miranda is reimagined as the ‘school kaffir’ – a black, female performance studies student who is perceived as lacking the academic skills required to navigate the island academy. The context is the ensuing storm of curriculum responsiveness to changing knowledge economies. This study attempts to demonstrate how alienation and social inequality begin to intersect in the classroom space of performance studies. It proposes the role performance studies could play in contesting institutional violence by providing an interpretation of tensions in experiences of belonging and not belonging in a South African higher education institution.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127887398","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":"Departing from Shakespeare: reflections triggered by re-staging Manhattan’s west side on KwaZulu-Natal’s East Coast (2013)","authors":"Sarah Roberts","doi":"10.4314/SISA.V30I1.3S","DOIUrl":"https://doi.org/10.4314/SISA.V30I1.3S","url":null,"abstract":"This practice-led research paper interrogates the “afterlife” of Romeo and Juliet through focusing on its transformed identity as West Side Story (1957) which transposed the tensions embedded in a Renaissance Anglo-European order into the so-called New World as a frankly declared act of appropriation. Designing the 2013 production of West Side Story at the KZN Playhouse prompted an extended focus on questions concerning “decolonising Shakespeare” within the field of theatre practice and production. I draw briefly on essays by Ngũgĩ wa Thiong’o in Moving the Centre that interrogate established patterns of cultural exchange and recasting as being inseparable from questions of imperial imposition and dominance against which strategies of resistance, such as appropriation and re-imaginings, are posited. As a medium of live encounter in the public domain, theatre (as a process and event) has a unique facility to stage readings in ways that destabilise a received narrative and its dramatic conventions as much as continuing to operate through these conventions. A necessarily contained discussion of aspects of theatrepractice and the languages of theatrical expression frames a close-reading of three aspects of West Side Story: the subject identities and action that are a direct outcome of re-locating Shakespeare’s narrative; the acknowledged formal innovations of the text; and, most crucially, its collaborative authorship. These three features have distinct resonance with postcolonial discourses and potentially far-reaching consequences for theatre-making initiatives committed to decolonisation. Steven Sondheim’s insistence on the “theatricality” of the text prompts a brief interrogation of the implications of the term in conjunction with the “afterlife” of “allographic writing” and its availability for appropriation. Addressing “theatricality” introduces the implications of radical departures from Shakespearean drama through valorising the theatrical languages of sound, space and dancing bodies over the printed word or speaking actor. The designer’s task focuses as much on these imperatives as on issues of cultural identity. The hybridity between operatic and musical-theatre idiom that results from the “collaborative authorship” of West Side Story invites addressing, albeit briefly, in terms of both the intentions of its makers and the critical reception of the work. Interrogating selected aspects of the origins and the extended process of making West Side Story enables me to problematise traditional sequences and residual notions of individual authority that continue to dominate theatre-making practices locally. I draw on the reflections of Leonard Bernstein and Stephen Sondheim to address inter-personal dynamics and power hierarchies: both are provocative in deliberating issues central to the collaborative creative process that might constitute a model of “decolonised” theatre-making. While the focus of the paper is confined to commentaries that emerg","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126101372","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 Shakespearean singularity to singular Shakespeares: finding new names for will-in-the-world","authors":"C. Thurman","doi":"10.4314/sisa.v30i1.2s","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.2s","url":null,"abstract":"This article reflects on the ways in which much of the terminology that is used to discuss Shakespearean manifestations around the world still operates, implicitly or explicitly, within the constraints of the discourse of universality. If scholars and theatre-makers seek to decolonise Shakespeare, ‘we need new names’ – or perhaps to find new meanings in the language that has previously been employed in the field of Shakespeare studies. The author thus explores the concept of singularity: both the historical relationship between Shakespearean singularity and universality, and the alternative paradigms that are made possible by focusing on ‘singular Shakespeares’ (with a particular emphasis on performance). If Shakespearean singularity pertains to an historical figure, or a body of literature, or a symbol, then singular Shakespeares describe Shakespeare as an experience, a phenomenon or a meaning constituted in the moment of interaction between actor(s) and each audience member. The notion of singular Shakespeares resists the biographical impetus that is ultimately behind the notion of universality; ‘Shakespeare’ is the means and not the end. The article concludes by applying its argument to Coriolanus in a South African context. Decolonising","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114366882","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":"Editorial: “ Decolonising Shakespeare ?” contestations and re-imaginings for a post-liberation South Africa","authors":"Lliane Loots, Sandra Young, Miranda Young-Jahangeer","doi":"10.4314/sisa.v30i1.1s","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.1s","url":null,"abstract":"In 2015 South Africans experienced a seminal moment in student politics and social movements, as previously marginalised discourses around the renewed call for Afrocentrism and the decolonisation of institutions, knowledge practices and public discourse gained new prominence. It began with the toppling of Rhodes iconography at the University of Cape Town, which quickly led to the pulling down and defacing of colonial statues situated on other South African university campuses and in South African city squares.1 The #RhodesMustFall movement saw university students and state police go head to head in ways that were reminiscent of June 16 and the anti-apartheid student uprisings in 1976. This 2015 movement evolved into the 2016 #FeesMustFall campaign which prompted the shutdown of university campuses across the country. Campuses had become war zones. Invoking the 1994 era political promises of free education, students called on institutions of higher learning to re-think, reimagine and revise outdated colonial systems of learning, a rallying cry under the term ‘decolonise’. While this moment in educational politics cannot be said to have evolved in the same way on each South African university campus, for us at the University of KwaZulu-Natal (UKZN) – a campus with a primarily black student body – it was a moment of confronting the intersection of race and class and financial access. The campus was shut down for over 8 weeks in 2016 at the height of teaching delivery time and we, as academic staff, became accustomed (again) to the daily smell of tear gas, to the sound of gun shots, and to the very visible presence of not only the police but also the hired private security company MI7 whose riot shields, AK47 rifles, and stun batons were highly visible when walking around campus. The aggressive presence of armed police and security for hire became yet another reminder that this ‘rainbow’ was, more truthfully, a nation in conflict. At the same time, 2016 was significant for another reason in Shakespeare studies. On the global stage, 2016 marked the 400th anniversary of Shakespeare’s death. How should a South African Drama programme respond to these two key aspects of this moment? As the Speech and Drama Department of the then University of Natal under the initial leadership of Prof Elizabeth Sneddon, Shakespeare and canonical theatre was conceived as “the tool of thought invested by man for the purpose of achieving a civilized way of life”.2 However, in its vital post-94 recurriculation, Drama and Performances Studies at UKZN has severed any major teaching relationship to Shakespeare; he appears now as a small section in a third-level module on “Postmodernism and Performance”, where students encounter a filmic interpretation of a Shakespearean text as a type of theatrical dialectic, and as the practical component of a section on Theatre in Education at level 2. However, in performance, Shakespeare’s work has had more staying power. During the years 20","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130500584","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":"“ To tell our Storie ”: reflections on a queer adaptation of Hamlet","authors":"Thys Heydenrych","doi":"10.4314/SISA.V30I1.5S","DOIUrl":"https://doi.org/10.4314/SISA.V30I1.5S","url":null,"abstract":"From my actor-director’s point of view, ‘decolonising’ Shakespeare means not to keep to the original, ‘traditional’ concept of performing and interpreting Shakespeare’s plays; it means giving them my voice as a gay white male. Hamlet’s “To be, or not to be” soliloquy incited me to approached Hamlet from a queer perspective. This article reflects on how I approached the play, without forcing the queer issue, by looking at the relationship between Horatio and Hamlet. Horatio is present in key moments of the play, and most of their interactions are when they are alone. By doing a close reading of the play, identifying queer cues, I adapted the play with Hamlet and Horatio in a same-sex relationship. Reading Hamlet from a queer perspective answers the question as to why Horatio is in Elsinore and present at key moments in the play. By placing Hamlet and Horatio in a same-sex relationship, Horatio’s presence becomes more meaningful. The interpretation of the “To be, or not to be” soliloquy, the ‘nunnery scene’, the ‘mousetrap scene’ and his exile adds a new layer to the character of Hamlet, and by extension Horatio. Next, I reflect on the performance of the queer adaptation, which was done in 2014 at the University of the Free State with a professional cast, co-directed by Peter Taljaard and myself. I offer a close reading, in chronological order, of the adaptation, highlighting key moments in the play that were used to establish Hamlet and Horatio’s relationship, while referring to interpretation choices made by my co-director and myself.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"1988 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114474512","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":"Reflections on a black Paulina: a personal tale recounted from a retrospective perspective","authors":"Noxolo Matete","doi":"10.4314/sisa.v30i1.4S","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.4S","url":null,"abstract":"If the process of colonisation located the black woman as the epitome of marginalisation, then a postcolonial feminist interrogation of Shakespeare calls for the significant inclusion and voice of this historically relegated identity. This paper employs the methodological approach of Narrative Inquiry, in that it focuses primarily on theorising a past subjective experience of a moment in performance. This paper is an auto-ethnographic, retrospective study around my personal experience of playing Paulina in a 2007 University of KwaZulu-Natal production of Shakespeare’s The Winter’s Tale , as a black South African female in a post-apartheid context. From a postcolonial feminist perspective, this paper seeks to give voice to my personal experience of representing a colonial European woman on a post-apartheid stage. Engaging the intersectionality politics of race, gender and language (examining in particular the politics of South African accents in Shakespearean performance), this paper reflects on the meanings that were unearthed when this character was re-imagined through my black identity. As the most historically marginalised South African identity, articulating my subjective experience of acting in a Shakespearean production within a postcolonial, post apartheid context – wherein I was embodying a European woman – becomes a profoundly important political performative statement, against the backdrop of a re-imagined, decolonised Shakespeare in post-liberation South Africa.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132612151","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}