Multicultural Shakespeare-Translation Appropriation and Performance最新文献

{"title":"Theatre Reviews","authors":"Anna Kowalcze-Pawlik","doi":"10.1515/mstap-2017-0014","DOIUrl":"https://doi.org/10.1515/mstap-2017-0014","url":null,"abstract":"The current Shakespearean stage in Ukraine is a patchwork of styles, play choices and artistic intentions. In the past three decades, post-Soviet Ukrainian theatre has developed its approach to Shakespeare, which can be characterized as “glocal”. Some native stage practitioners emphasize their openness to up-tothe-minute tendencies, which enable the genuine integration of the Ukrainian theatre into the global Shakespearean context, whereas others mainly focus on the local issues employing Shakespeare’s plays as a source for travesties, burlesques, remakes, and retakes aimed at putting current social problems in the spotlight. The specifics of the modern technology-driven world and the crisis of anthropocentrism in the media and art forms cannot but reflect on the performing arts both globally and locally. In this respect, a posthuman theoretical perspective undermines the role of the human as the only creature capable of speaking the self. As wisely perceived by John D. Peters,","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"15 1","pages":"195 - 201"},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49019963","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 Medievalism of Emotions in King Lear","authors":"A. Czarnowus","doi":"10.18778/2083-8530.23.11","DOIUrl":"https://doi.org/10.18778/2083-8530.23.11","url":null,"abstract":"King Lear exemplifies two cultures of feeling, the medieval and the early modern one. Even though the humoral theory lay at the heart of the medieval and the early modern understanding of emotions, there was a sudden change in the understanding of specific medieval emotions in Renaissance England, such as honour as an emotional disposition. Emotional expression also changed, since the late Middle Ages favoured vehement emotional expression, while in early modern England curtailment of any affective responses was advocated. Early modern England cut itself off from its medieval past in this manner and saw itself as “civilized” due to this restraint. Also some medieval courtly rituals were rejected. Expression of anger was no longer seen as natural and socially necessary. Shame started to be perceived as a private emotion and was not related to public shaming. The meaning of pride was discussed and love was separated from the medieval concept of charity. In contrast, in King Lear the question of embodiment of emotions is seen from a perspective similar to the medieval one. The article analyzes medievalism in terms of affections and studies the shift from the medieval ideas about them to the early modern ones.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82058586","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":"Individualization and Oedipalization in Reza Servati’s Adaptation of William Shakespeare’s Macbeth: An Expressionist Reworking","authors":"Mahdi Javidshad","doi":"10.18778/2083-8530.23.08","DOIUrl":"https://doi.org/10.18778/2083-8530.23.08","url":null,"abstract":"This article investigates Reza Servati’s Macbeth, an Iranian prize-winning adaptation of Shakespeare’s Macbeth, to discuss the way the adaptor prunes the source text aiming at presenting his distinctive reading of Shakespeare’s play. First, this study is concerned with the way Servati minimalizes the source text and how the process of minimalization serves the adaptor’s preoccupation with the psychological complexities of the characters. Second, it is discussed how Servati’s changes to the source text takes the Renaissance inclination for individualism a step forward. Third, it is argued that the individualism in Servati’s adaptation is aimed at Oedipalization of the play, an attempt that shows the influence of Freudian psychoanalysis. Finally, this article investigates the way Servati’s adaptation can be considered as an expressionist reworking of Shakespeare’s Macbeth by making the individualization of the plot subservient to the expression of the typical course that everyman goes through.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"22 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83199852","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":"In-MeMoriaM < Dr. Vicente Forés López >","authors":"José Saiz Molina","doi":"10.18778/2083-8530.23.15","DOIUrl":"https://doi.org/10.18778/2083-8530.23.15","url":null,"abstract":"Quite sure I am that he had loved this title to honour him because my mentor and colleague, Prof. Dr. Vicente Forés López, was a scholar and an artist in equal proportion. A polymath of great versatility obsessed with taking pictures of birds and clouds, possibly, to confirm he was a rara avis in an increasingly globalized world. I can still remember watching this versatility when he was playing with two pieces of paper to explain what a hypertext, a link, a website, and a textual fractal were from the class platform. From my own experience, he seemed like a “Man of Utopia” leading a multimedia performance to seduce, at least, some sceptical spectators. An academic audience eager to learn 20 th Century English Narrative that, suddenly, was compelled to face with his challenging idea of a “pluperfect future.” A pun close to Sprechstimme—in the form of a homepage—that apart from summarizing the many research fields he mastered, it was his peculiar way of welcoming you to both his critical thinking and his multiple dimensions. All this may seem rather but trivial, however you must take into account that accessing to the “World Wide Web” and coding literary hypertexts in the mid 1990s was a privilege of a few and, fortunately for us, Dr. Vicente Forés was among those pioneering spirits. This global and collaborative perspective made him appreciate well in advance some doubts, uncertainties and possibilities about situations that “happened” before another time in the “future” (his own grandfather paradox) and, as a good translator and communicator, he promptly mirrored those www into his famous mmm or “Módulos Multi Media.” A recurrent thinking, the motto of his native team, an interactive literary","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74683068","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":"Introduction: Shakespeare, Blackface and Performance. A Global Perspective","authors":"Coen Heijes, Ayanna Thompson","doi":"10.18778/2083-8530.22.01","DOIUrl":"https://doi.org/10.18778/2083-8530.22.01","url":null,"abstract":"When we were invited in 2019 by the editors of Multicultural Shakespeare to guest edit a special issue on a topic that would be of international significance, we did not have to think very hard or long, as the request aligned with one of our main research interests: racism, blackface and performance. Shakespearean performances have employed racial prosthetics since the Elizabethan period, but the intervening 400 years since Shakespeare’s lifetime have seen the symbolic, social, and performance meanings of blackface and its relation to xenophobia, institutional racism and populism change. Over the past years these topics have gained even more significance and worldwide attention, and 2020 accelerated interests in systemic racism and the histories and performances that foster and enable its perpetuation. The brutal murder of George Floyd in May 2020 inspired even more urgent calls for analyses of systemic, anti-black racism. As the mission of Multicultural Shakespeare (formerly Shakespeare Worldwide) aims to broaden scholarly perspectives beyond an Anglophone approach, we sent out a call for papers inviting scholars to analyse specific uses of blackface in both local and global contexts across the world. We were particularly interested in essays that would explore specific political, social, and cultural issues regarding institutional racism and their relations to blackface traditions both inside and outside the theatre. Interest in this topic has increased over the past decades and is currently accelerating and deepening, with recent and forthcoming publications on the subject not only moving beyond the Anglophone context but also aiming to contextualise the interactions between institutional racism, blackface, performance and the socio-political context (Heijes, 2020; Valls-Russell and Sokolova, 2021; Thompson, 2021a, Thompson, 2021b). When we launched our call for papers for this special issue of Multicultural Shakespeare, we had no idea that so many authors would submit their papers. The international interest in blackface revealed just how pervasive","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"35 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89943436","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":"Interpreting Othello in the Arabian Gulf: Shakespeare in a Time of Blackface Controversies","authors":"Katherine Hennessey","doi":"10.18778/2083-8530.22.07","DOIUrl":"https://doi.org/10.18778/2083-8530.22.07","url":null,"abstract":"This article opens with some brief observations on the phenomenon of Arab blackface—that is, of Arab actors “blacking up” to impersonate black Arab or African characters—from classic cinematic portrayals of the warrior-poet Antara Ibn Shaddad to more recent deployments of blackface in the Arab entertainment industry. It then explores the complex nexus of race, gender, citizenship and social status in the Arabian Gulf as context for a critical reflection on the author’s experience of reading and discussing Othello with students at the American University of Kuwait—discussions which took place in the fall of 2019, in the midst of a wave of controversies sparked by instances of Arab blackface on television and in social media.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"6 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81902948","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":"Othello in the Balkans: Performing Race Rhetoric on the Albanian Stage","authors":"Marinela Golemi","doi":"10.18778/2083-8530.22.08","DOIUrl":"https://doi.org/10.18778/2083-8530.22.08","url":null,"abstract":"This essay examines the racialized rhetoric in Fan Noli’s 1916 Othello translation and the racialized performance techniques employed in A.J. Ricko’s 1953 National Theatre of Albania production. Hoping to combat racial discrimination in Albania, Noli’s translation of Othello renders the Moor an exceptional Turk whose alienation in Venice was designed to mirror the Albanophobic experiences of Albanian immigrants. Moreover, the Albanian Othello can serve as a platform for addressing ethno-racial tensions between Albanians and Turks, northern and southern Albanians, and Albanians of color and white Albanians. Both Noli and Ricko believed there was an anti-racist power inherent within Shakespeare’s play. In the end, however, the race-based rhetoric in the Albanian language, the use of blackface make-up in performance, and the logic and rhetoric of Shakespeare’s play itself challenged these lofty goals for race-healing.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"4 11","pages":"125-138"},"PeriodicalIF":0.2,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513770","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":"“Far more fair than black”: Othellos on the Chilean Stage","authors":"Paula Baldwin Lind","doi":"10.18778/2083-8530.22.09","DOIUrl":"https://doi.org/10.18778/2083-8530.22.09","url":null,"abstract":"This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73238536","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":"Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests","authors":"Andoni Cossio, M. Simonson","doi":"10.18778/2083-8530.21.06","DOIUrl":"https://doi.org/10.18778/2083-8530.21.06","url":null,"abstract":"This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are frequently portrayed as settings which create an atmosphere of confusion, false appearances, danger and magic. This reflects a long-standing historical connection between trees and forests and the supernatural in literature and culture. However, while individual trees largely reflect traditional symbology, conventional interpretations are often subverted in Shakespeare’s treatment of forests and woods. From all this we may infer that Shakespeare was not only familiar with the traditions associated to individual tree species and forests in general, but also that he made conscious and active use of these in order to enhance the meaning of an action, reinforce character traits, further the plot and create a specific atmosphere. More subtly, the collective arboreal environments can also be interpreted as spaces in which superstitions and older societal models are questioned in favour of a more rational and reasonable understanding of the world.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"11 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91397200","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":"Designing Goddesses: Shakespeare’s \"Othello\" and Marian Nowiński’s \"Otello Desdemona\"","authors":"Sabina Laskowska-Hinz","doi":"10.18778/2083-8530.21.09","DOIUrl":"https://doi.org/10.18778/2083-8530.21.09","url":null,"abstract":"The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"2 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79787184","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}