Multicultural Shakespeare-Translation Appropriation and Performance最新文献_第6页

Theatre Reviews 戏剧评论

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.13

Peter Billingham, Stephanie Mercier, Lisa Hopkins

引用次数: 0

Theatre Strikes Back in the Digital Era: An Interview with Stephan Wolfert 数字时代的戏剧反击——斯蒂芬·沃尔伯特访谈录

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.04

Maddalena Pennacchia

{"title":"Theatre Strikes Back in the Digital Era: An Interview with Stephan Wolfert","authors":"Maddalena Pennacchia","doi":"10.18778/2083-8530.20.04","DOIUrl":"https://doi.org/10.18778/2083-8530.20.04","url":null,"abstract":"Abstract In this edited interview, Stephan Wolfert, American actor and playwright, talks about his pluri-awarded play, Cry Havoc, a one-man show he has been performing since 2012 with several variations through the years; the play is autobiographical but it is also the exemplary story of many US veterans who cannot find a way to readjust to civilian rules once they come back home. The play tells of Wolfert’s struggle with Shakespeare’s words in order to find his own voice to speak what could not be said differently: his own trauma. By bringing to the fore a number of veterans in Shakespeare’s plays, starting from Richard III to Hotspur, Henry V, Coriolanus and many others, Wolfert fascinatingly lights up corners of the Shakespearean macro-text which we knew were there without really seeing them. Wolfert’s approach, in his show as well as in the use of Shakespeare within the DE-CRUIT Veterans Programme he founded, highlights the importance of human interaction through the mediation of the most ancient among media: theatre. Shakespeare’s writing for the theatre, with its characteristic intermedial quality (as it is suspended between page and stage) and cross-cultural inclination (as it has travelled the world), reactivates a holistic sense of the body and, in so doing, it channels powerful and deep physical emotions that can be expressed and shared with mutual benefit by actors and audience alike within the safe communication environment of theatre. Wolfert’s work makes the most of all this and even puts Shakespeare’s language to a therapeutic use for US veterans.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"37 - 49"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43542566","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: 3

Book Reviews 书评

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.12

S. Carotenuto, Maosheng Hu

{"title":"Book Reviews","authors":"S. Carotenuto, Maosheng Hu","doi":"10.18778/2083-8530.20.12","DOIUrl":"https://doi.org/10.18778/2083-8530.20.12","url":null,"abstract":"Constructing Shakespeares by Emeritus Professor Balz Engler offers an important critical contribution to Renaissance studies and, together, to performance studies. Consisting of five essays—“Construction,” “Monumental Shakespeare,” “Occasions: Status and Process,” “Hamlet: Passages We Live By” and “Re-Productions,” with an introduction which sets the book’s “Premises” and its final “Coda”—the publication, supported by the Berta Hess-Cohn Foundation and the Max Geilinger Foundation of Zurich, is consistently interested in the Shakespearean oeuvre as a performative authority through history via the notion of the deconstruction of the text as a “classic,” and in contemporary times through the “media” apparatus that makes it enjoyable and relevant still today, in the global world, among different and differentiated audiences. The question of the “audience” is the focus of the “Premises,” which deals with the modalities in which the Shakespearean text (the main reference goes to Prospero’s Epilogue and its final invitation to the audience’s indulgence, that is, its applause) inserts the notion of the “performance as process” (17), the play being “an occasion of which the audience is part” (18). Indeed, Engler’s position is that the audience takes part, plays a central part in the performance, contributes to the success or failure of the play, and represents the oral/social agent of dramatic authority. “Sociality” and “communication,” therefore, are to be considered as essential elements to the “making of a great author,” and particularly to the magnitude of Shakespeare, thus advancing a benevolent criticism of the Romantic notion of his texts as “books to read” (the reference goes to Charles Lamb’s appreciation of Shakespeare’s soliloquies). The activity of reading, as Professor Engler maintains, is already and always part of","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"163 - 171"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43944476","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

The Development of Marxist Shakespearean Criticism in China 马克思主义莎士比亚批评在中国的发展

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.08

Wei Zhang

引用次数: 1

Shakespeare across the Taiwan Strait: A Developmental Perspective 海峡两岸的莎士比亚:一个发展的视角

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.09

Yu Sun, Longhai Zhang

{"title":"Shakespeare across the Taiwan Strait: A Developmental Perspective","authors":"Yu Sun, Longhai Zhang","doi":"10.18778/2083-8530.20.09","DOIUrl":"https://doi.org/10.18778/2083-8530.20.09","url":null,"abstract":"Abstract Shakespeare studies in Mainland China and Taiwan evolved from the same origin during the two centuries after Shakespeare being introduced into China in the early nineteenth century. Although Shakespeare was first seen on the Taiwan stage in the Japanese language during the colonial period, it was after Kuomintang moved to Taiwan in 1949 that Shakespeare studies began to flourish when scholars and theatrical experts from mainland China, such as Liang Shih-Chiu, Yu Er-Chang, Wang Sheng-shan and others brought Chinese Shakespeare to Taiwan. Since the 1980s, mainland Shakespeareans began to communicate actively with their colleagues in Taiwan. With the continuous efforts of Cao Yu, Fang Ping, Meng Xianqiang, Gu Zhengkun, Yang Lingui and many other scholars in mainland China and Chu Li-Min, Yen Yuan-shu, Perng Ching-Hsi and other scholars in Taiwan, communications and conversations on Shakespeare studies across the Taiwan Strait were gradually enhanced in recent years. Meanwhile, innovations in Chinese adaptations of Shakespeare have resulted in a new performing medium, Shake-xiqu, through which theatrical practitioners on both sides explore possibilities of a union of Shakespeare and traditional Chinese theatre. This paper studies some intricate relationship in the history of Shakespeare studies in mainland China and Taiwan from a developmental perspective and suggests opportunities for positive and effective co-operations and interactions in the future.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"115 - 131"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44330292","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

Foreword What Is Shakespeare? Who Is He? And When Is Shakespeare Himself Again? 莎士比亚是什么？他是谁？莎士比亚什么时候再来？

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.01

T. Clayton

引用次数: 0

Revisiting the Classics and the New Media Environments: Shakespeare Re-Told by Jeanette Winterson, Margaret Atwood and Edward St. Aubyn 重温经典与新媒体环境：珍妮特·温特森、玛格丽特·阿特伍德和爱德华·圣奥本的《莎士比亚再讲》

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.10

Dana Percec

{"title":"Revisiting the Classics and the New Media Environments: Shakespeare Re-Told by Jeanette Winterson, Margaret Atwood and Edward St. Aubyn","authors":"Dana Percec","doi":"10.18778/2083-8530.20.10","DOIUrl":"https://doi.org/10.18778/2083-8530.20.10","url":null,"abstract":"Abstract The versatility of the appropriation of Shakespeare in recent years has been witnessed in a variety of registers and media, which range from special effects on the stage, music, cartoons, comics, advertisements, all the way to video games. This contribution looks at some of the novels in the Shakespeare Re-told Hogarth series as effigies of the contemporary process of adapting the Elizabethan plays to the environments in which the potential readers/viewers work, become informed, seek entertainment and adjust themselves culturally, being, ultimately, cognitive schemes which are validated by today’s reception processes. The first novel in the series was Jeanette Winterson’s Gap of Time (2016), in which the Shakespearean reference to the years that separate the two moments of The Winter’s Tale’s plot becomes the title of a video game relying mainly on fantasy. Margaret Atwood’s Hag-Seed (2016) rewrites The Tempest as a parable of the theatrical performance and its avatars, as undisputable authority, on the one hand, and source of subversiveness, on the other. Dunbar (2018) is Edward St. Aubyn’s response to the family saga of King Lear, where kingship, territorial division and military conflict are replaced by modern media wars, and the issues of public exposure in the original text are reinterpreted interpreted by resorting to the impact of the audio-visual on every-day life.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"133 - 150"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48400889","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: 1

On a Romantic Island: Shakespeare and Mamma mia 在一个浪漫的岛上:莎士比亚和妈妈咪呀

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.11

Jana B. Wild

引用次数: 0

Introduction: Sailing along Intermedial Rivers 简介：沿中间河流航行

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.02

Monica Matei-Chesnoiu, Tianhu Hao

{"title":"Introduction: Sailing along Intermedial Rivers","authors":"Monica Matei-Chesnoiu, Tianhu Hao","doi":"10.18778/2083-8530.20.02","DOIUrl":"https://doi.org/10.18778/2083-8530.20.02","url":null,"abstract":"When considering the differences between Shakespeare’s Othello and Verdi’s operatic restyling Otello, following Arrigo Boito’s drastically-reduced libretto, scholars have asked how the opera was fully able to set to music Shakespeare’s manipulation of words in the play-text. Examining how Verdi transforms Shakespeare’s dramatic process into the medium of music, in “The Iagoization of Otello: A Study in Verdi’s Musical Translation of Shakespeare’s Linguistic Dramaturgy,” Jeffrey Kurtzman explains that Verdi’s solution was “to create a musical language for Iago, a different musical language for Otello, and then cause Iago’s musical language to invade and transform that of Otello in a manner directly analogous to the way in which Shakespeare uses words” (72). Extrapolating this idea to the multiplicity of intermedial appropriations of Shakespeare’s plays, we would say that a different language system is involved in representing the canonical plays and a different end-result is obtained. Bryan Reynolds describes this process in a unique manner in his Introduction to Intermedial Theater: Performance, Philosophy, Transversal Poetics, and the Future of Affect (2017):","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"17 - 22"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49368545","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

“I should like to have my name talked of in China”: Charles Lamb, China, and Shakespeare “我希望我的名字在中国被人提起”:查尔斯·兰姆，中国与莎士比亚

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.07

云芳代

{"title":"“I should like to have my name talked of in China”: Charles Lamb, China, and Shakespeare","authors":"云芳代","doi":"10.18778/2083-8530.20.07","DOIUrl":"https://doi.org/10.18778/2083-8530.20.07","url":null,"abstract":"Abstract Charles and Mary Lamb’s Tales from Shakespeare played an essential role in Chinese reception history of Shakespeare. The first two adaptations in China, Xiewai qitan 澥外奇譚and Yinbian yanyu 吟邊燕語, chose Tales as the source text. To figure out why the Lambs’ Tales was received in China even earlier than Shakespeare’s original texts, this paper first focuses on Lamb’s relationship with China. Based on archival materials, it then assumes that the Lambs’ Tales might have had a chance to reach China at the beginning of the nineteenth century through Thomas Manning. Finally, it argues that the decision to first bring Shakespeare to China by Tales was made under the consideration of the Lambs’ writing style, the genre choice, the similarity of the Lambs’ and Chinese audiences, and the marketability of Tales. Tracing back to the first encounter between Tales and China throws considerable light on the reception history of Shakespeare in China. It makes sense that nothing is coincidental in the history of cultural reception and the encounters have always been fundamentally influenced by efforts from both the addresser and the receptor.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"83 - 97"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43809512","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: 1