Shakespeare in Southern Africa最新文献

{"title":"Interview: Introducing Sonny – the story of “The Robben Island Bible”","authors":"Devaksha Moodley","doi":"10.4314/SISA.V30I1.11S","DOIUrl":"https://doi.org/10.4314/SISA.V30I1.11S","url":null,"abstract":"People in every continent, in different times, have found what they want in Shakespeare. For South Africans to reject Shakespeare and Julius Caesar is to reject part of their own history, and their contribution to world culture. 1","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"1 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":"125783423","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: Coriolanus/ Post- Coriolanus/ Counter- Coriolanus/ DCoriolanus ?","authors":"Molly Brown","doi":"10.4314/sisa.v30i1.14S","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.14S","url":null,"abstract":"DCoriolanus : directed by Myer Taub. Masker Theatre (University of Pretoria). 28 March to 1 April 2017","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"20 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":"121555374","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":"Black queer woman Iago","authors":"P. Nqelenga","doi":"10.4314/sisa.v30i1.7s","DOIUrl":"https://doi.org/10.4314/sisa.v30i1.7s","url":null,"abstract":"This paper reflects on my experience as an actor in creating a black queer woman Iago and the meanings that come with this process. I narrate my own experience in performing provocative monologues that give Iago a political stance and attempt to theorise how my body as a black queer woman gives new meanings to the role of Iago and to an Othello loosely based in post-apartheid South Arica. Focusing on three monologues the paper aims to articulate the lived experience of performing an Iago who is rooted in black consciousness discourse and how she navigates the theatrical space to speak her truth.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"18 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":"121932528","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":"Hawu Shakespeare: Dancing on Shakespeare’s grave","authors":"C. Gordon","doi":"10.4314/sisa.v29i1.9","DOIUrl":"https://doi.org/10.4314/sisa.v29i1.9","url":null,"abstract":"Romeo and Juliet: REBELLION & JOHANNESBURG . Director/Choreographer Jessica Nupen, with Moving into Dance Mophatong. University of Johannesburg Arts Centre. February 2016.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124518335","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: aboard the Red Dragon in 2017","authors":"C. Thurman","doi":"10.4314/SISA.V29I1.1","DOIUrl":"https://doi.org/10.4314/SISA.V29I1.1","url":null,"abstract":"Shortly before volume 29 of Shakespeare in Southern Africa was published, I went to see a sixman Hamlet at Pieter Toerien’s Montecasino Theatre, directed by Fred Abrahamse and starring Marcel Meyer in the title role. The production took its design and concept cues from the muchcited performances of the play on the deck of merchant ship the Red Dragon as it lay at anchor off Africa’s west coast (present day Sierra Leone) in 1607 and off the east coast of the continent (near the island of Socotra) in 1608. There has, over the years, been some dispute as to whether these maritime performances actually took place or were simply the fabrication of nineteenthcentury historians. It may be impossible to establish full scholarly consensus over the authenticity of entries in Captain William Keeling’s journal referring to Hamlet – and, for what it’s worth, Richard II – as a means of keeping his crew “from idleness and unlawful games, or sleepe”. The episode has nonetheless been a gift to the global Shakespeare industry, seeming to confirm that Shakespeare’s work began to spread across the world while he was still alive, almost as if his elevation to the status of international icon were an inevitable process stemming from his preordained universality. Some have even gone so far as to use the Red Dragon narrative to argue for Shakespeare’s unproblematic (nay, even ‘natural’ or ‘indigenous’) presence in Africa. Yet it is significant that these performances took place not on African soil but at sea – and, more specifically, on board a ship in the service of the East India Company. Keeling’s Hamlet is a part of the long story of Shakespeare’s co-option into British imperialism; invoking it does not absolve Shakespearean scholars or theatre-makers of our complicity in the race, gender and class dynamics that are writ large in the history and current manifestations of ‘Shakespeare in (southern) Africa’. Abrahamse and his team took the liberty of shifting the second recorded Red Dragon performance of Hamlet southward, so that their production could pitch itself as “William Shakespeare’s Hamlet: Prince of Denmark, as performed by the crew aboard the Red Dragon, off the East Coast of South Africa, 31 March 1608”. This device brought various advantages. The meta-theatrical aspects of Hamlet – most notably Hamlet’s advice to the players – could be foregrounded at the outset, and with the addition of some borrowed lines from the Rude Mechanicals in A Midsummer Night’s Dream, the cast presented themselves as a crew of six thespian sailors. The opening seemed to establish a contract according to which the audience would have to accept cuts to the text, like the absence of Fortinbras and the wartime setting, as necessities turned to virtues. It also facilitated the doubling that followed, in particular the portrayal of Gertrude and Ophelia by male actors (a strategy often employed by Abrahamse & Meyer Productions, somewhere between an ‘original staging conditions’ approac","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131485987","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":"‘Alone’, ‘constant’ and ‘(in)visible’: Staging leadership in Coriolanus","authors":"Sarah Roberts","doi":"10.4314/sisa.v29i1.4","DOIUrl":"https://doi.org/10.4314/sisa.v29i1.4","url":null,"abstract":"Italo Calvino’s propositions frame my approach to discussing the reception and interpretation of Shakespeare’s Coriolanus today in the light of its inclusion in the Independent Examinations Board (IEB) school curriculum. I offer a dual-focus reading of Coriolanus that is informed by Gill Marcus’ notions of effective global leadership in the contemporary socio-economic climate intertwined with Brecht’s foregrounding of plebeian perspective and interests. The action of the play overtly confounds the ‘ideal leader’ described by Marcus through its dramatisation of a hero who is a model of volatility in expression, behaviour and allegiance. It nonetheless introduces complex considerations of relations between leader and collective inviting the twin focus of this paper. The agitating issues of radical socio-economic disparity and imperatives of economic and cultural transformation in South African suggest the importance of making theoretical formulations of dominance, authority and distinguishing between hero and leader. Drawing on Lucy Hughes-Hallett’s Heroes: Saviours, Traitors and Supermen (2004), I pursue three intertwined motifs that converge in the figure of the eponymous hero: mutability as an antithesis of the steadfastness and constancy which Coriolanus values; the tension generated between singularity and the state of being ‘alone’ in contrast to being situated within a collective (arguably a central motif of the play); and, finally, the degree to which visible presence as opposed to absence (or exile) impacts effective leadership. I conclude by arguing the merits of pursuing ‘lessons from Brecht’ to offer a template for reading the play (and its presentation) in a way that seeks out local correspondences.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123760324","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":"‘Thinking with Shakespeare’: The Merchant of Venice – Shylock, Caliban and the dynamics of social scale","authors":"L. Wright","doi":"10.4314/sisa.v29i1.3","DOIUrl":"https://doi.org/10.4314/sisa.v29i1.3","url":null,"abstract":"Contemporary criticism seldom acknowledges Shakespeare’s sensitivity to longer-term historical trajectories. One such variable is social scale. If dramatic conflict in The Merchant of Venice is interpreted solely in terms of clashes between ethical character, social allegiance, and religious affiliation, at the end of the play these clashes persist as a morass of irreconcilables, unresolved and irresolvable. The audience is left in unconditioned liberty to make up its own mind. This paper argues that changing social scale provides a framework which allows the ethical dilemmas posed by The Merchant of Venice to be interpreted coherently, bringing us closer to the experience of ‘thinking with Shakespeare’. Shakespeare’s drama anticipates the rise of large-scale cosmopolitan society and, without underestimating the social tensions involved, challenges the audience to welcome an unknown new world appearing over the horizon.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130733482","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":"Natural law and Shakespeare’s grand speeches of order","authors":"P. Titlestad","doi":"10.4314/sisa.v29i1.8","DOIUrl":"https://doi.org/10.4314/sisa.v29i1.8","url":null,"abstract":"Natural law was a two-edged sword. It bolstered authority and order and was invoked by those claiming just rebellion. Shakespeare inherited intense controversy, complicated for him as a writer for the stage by the Master of the Revels, the servant of an anxious authority. This authority, at its highest, could however totally unsay itself when faced with a Mary Queen of Scots, to the applause of the nation. His plays are marked, here and there, by grand speeches of order. How do we take them? In what way do they reflect the age?","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125555500","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 German perspective on Plaatje, Nyerere and Shakespeare in translation","authors":"Kathleen Thorpe","doi":"10.4314/SISA.V29I1.10","DOIUrl":"https://doi.org/10.4314/SISA.V29I1.10","url":null,"abstract":"Cornelia Bock. Shakespeares Julius Caesar und Macbeth. Eigennamen und Titulaturen in Ubersetzungen in afrikanische und europaische Sprachen . Koln: Rudiger Koppe Verlag, 2015.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"49 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125595599","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":"The search for identity in recent German productions of Twelfth Night","authors":"Laura A. Zander","doi":"10.4314/SISA.V29I1.6","DOIUrl":"https://doi.org/10.4314/SISA.V29I1.6","url":null,"abstract":"Shakespeare’s Twelfth Night creates a world which is full of self-deception and characters who have lost touch with reality. As a result, they are forced to self-reflect and feel compelled to embark on various quests in order to search for their own identities, struggling with questions of both essential and existential nature: Who am I? What am I missing? Who can make me whole? While this search for identity certainly is one of the main motifs of the comedy in question, often an additional focus is placed on staging the psychology of the characters and on depicting them lost in the dreamlike fantasy of Illyria. Loneliness, confusion and a lack of knowing their true self as well as the self of the other characterises their being. As a consequence of the ‘psychological disorders’ of the characters, their ‘love play’ is presented as an attempt to overcome this state by forming a bond with another person. I will focus on two recent German productions, both staged in 2014 on the occasion of the 450th anniversary of Shakespeare’s birth, in order to analyse how these heavily revised adaptations engage with conflict in terms of gender as well as identity. After locating both performances within the German tradition of staging the play, the article sets out to trace the identity struggles of and the psychological engagement with the characters of Twelfth Night in these productions.","PeriodicalId":334648,"journal":{"name":"Shakespeare in Southern Africa","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116263370","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}