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Multicultural Shakespeare-Translation Appropriation and Performance最新文献

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Hamlet, or about Death: A Romanian Hamlet directed by Vlad Mugur (2001) 哈姆雷特，还是关于死亡:弗拉德·穆古尔导演的罗马尼亚哈姆雷特(2001)
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.05
Monica Matei-Chesnoiu
{"title":"Hamlet, or about Death: A Romanian Hamlet directed by Vlad Mugur (2001)","authors":"Monica Matei-Chesnoiu","doi":"10.18778/2083-8530.20.05","DOIUrl":"https://doi.org/10.18778/2083-8530.20.05","url":null,"abstract":"Abstract This essay looks at the 2001 Romanian production of Hamlet directed by Vlad Mugur at the Cluj National Theatre (Romania) from the perspective of geocriticism and spatial literary studies, analysing the stage space opened in front of the audiences. While the bare stage suggests asceticism and alienation, the production distances the twenty-first century audiences from what might have seemed difficult to understand from their postmodern perspectives. The production abbreviates the topic to its bare essence, just as a map condenses space, in the form of “literary cartography” (Tally 20). There is no room in this production for baroque ornaments and theatrical flourishing; instead, the production explores the exposed depth of human existence. The production is an exploration of theatre and art, of what dramatists and directors can do with artful language, of the theatre as an exploration of human experience and potential. It is about the human condition and the artist’s place in the world, about old and new, about life and death, while everything happens on the edge of nothingness. The director’s own death before the opening night of the production ties Shakespeare’s Hamlet with existential issues in an even deeper way than the play itself allows us to expose.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"51 - 60"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49284431","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
East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares 东西方相遇:中国华剧莎士比亚的身份认同与跨文化话语
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.06
Renfang Tang
{"title":"East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares","authors":"Renfang Tang","doi":"10.18778/2083-8530.20.06","DOIUrl":"https://doi.org/10.18778/2083-8530.20.06","url":null,"abstract":"Abstract This article examines two huaju performances of Shakespeare—The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity of Shakespearean texts, but more critically, illustrate how Shakespeare and intercultural discourses are internalized and reconfigured by the nation and culture that consume and re-produce them. Chinese adaptations of Coriolanus and King Lear demonstrate how (intercultural) identity is constructed through the subjectivity and iconicity of Shakespeare’s characters and the performativity of Shakespeare’s texts.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"61 - 81"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42218306","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
The Archive and the Digital Age: Field Notes from the Pedagogical Front 档案与数位时代:来自教学前沿的现场笔记
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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-12-01 DOI: 10.18778/2083-8530.20.03
Irena R. Makaryk, Ann Hemingway
{"title":"The Archive and the Digital Age: Field Notes from the Pedagogical Front","authors":"Irena R. Makaryk, Ann Hemingway","doi":"10.18778/2083-8530.20.03","DOIUrl":"https://doi.org/10.18778/2083-8530.20.03","url":null,"abstract":"Abstract The digital environment in which the humanities are now firmly immersed has opened the door to innovative ways for students to interact with traditional formats such as archival and print material, and to develop a deep and personal understanding of topics and issues. Libraries, museums and archives are in the unique position of facilitating the creation of digital initiatives in the classroom by offering up their collections as “learning laboratories,” and by sharing their expertise in technology, information, and digital literacy as well as data management. Through active collaboration with course instructors, they can build bridges between their collections and the digital skills students need in order to embrace the new learning paradigm and to help lead them into the future. This paper outlines an archival-digital pilot launched in 2015 at the University of Ottawa, Canada. It situates the project in its historical context; details its early and subsequent iterations; and surveys the assumptions, challenges, surprises, and pleasures of introducing students to archival sources and to acquiring digital skills.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"23 - 36"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42770801","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
Introduction: Shakespeare and/in Europe: Connecting Voices 引言：莎士比亚和/在欧洲：连接声音
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-08-01 DOI: 10.18778/2083-8530.19.01
Nicole Fayard
{"title":"Introduction: Shakespeare and/in Europe: Connecting Voices","authors":"Nicole Fayard","doi":"10.18778/2083-8530.19.01","DOIUrl":"https://doi.org/10.18778/2083-8530.19.01","url":null,"abstract":"Abstract Recent Shakespearean productions, just like current European crises, have highlighted the exclusionary nature of European identity. In defining the scope of this special issue, the aim of this introduction is to shift the study of Shakespeare in/and Europe away from the ideological field of “unity within diversity” and its attendant politics of negotiation and mediation. Instead, it investigates whether re-situating Shakespearean analysis within regimes of exclusionary politics and group conflict attitudes helps to generate dynamic cultural and social understandings. To what effect is Shakespeare’s work invoked in relation with the tensions inherent in European societies? Can such invocations encourage reflections on Europe as a social, political and/or cultural entity? Is it possible to conceptualize Shakespearean drama as offering an effective instrument that connects―or not―the voices of the people of Europe?","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"30 - 9"},"PeriodicalIF":0.2,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46028911","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
“Making Things Look Disconcertingly Different”: In Conversation with Declan Donnellan “让事情看起来令人不安的不同”：与德克兰·唐纳伦对话
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-08-01 DOI: 10.18778/2083-8530.19.08
Nicole Fayard
{"title":"“Making Things Look Disconcertingly Different”: In Conversation with Declan Donnellan","authors":"Nicole Fayard","doi":"10.18778/2083-8530.19.08","DOIUrl":"https://doi.org/10.18778/2083-8530.19.08","url":null,"abstract":"Abstract In this interview acclaimed director Declan Donnellan, co-founder of the company Cheek by Jowl, discusses his experience of performing Shakespeare in Europe and the attendant themes of cultural difference, language and translation. Donnellan evokes his company’s commitment to connecting with audiences globally. He keeps returning to Shakespeare, as his theatre enables the sharing of our common humanity. It allows a flesh-and-blood carnal interchange between the actors and the audience which directly affects individuals. This interchange has significant consequences in terms of translation and direction.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"139 - 159"},"PeriodicalIF":0.2,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47607787","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
Transversal Connections: The Cervantes Quatercentenary in Spain and its Comparison with “Shakespeare Lives” 横向联系:塞万提斯在西班牙四百周年纪念及其与“莎士比亚在世”的比较
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-06-30 DOI: 10.18778/2083-8530.19.05
Keith Gregor
{"title":"Transversal Connections: The Cervantes Quatercentenary in Spain and its Comparison with “Shakespeare Lives”","authors":"Keith Gregor","doi":"10.18778/2083-8530.19.05","DOIUrl":"https://doi.org/10.18778/2083-8530.19.05","url":null,"abstract":"Abstract Taking as its cue the 2016 quatercentenaries of the deaths of both Shakespeare and Cervantes, the essay offers some insights into the “transversal connections” between both events as celebrated in Spain and the UK. The questions it raises and attempts to resolve are fourfold: (1) What are the reasons and also the benefits of yoking together two such apparently disparate authors, whose strongest link is, arguably, the fact they both passed away in 1616? (2) What work is being done to restore these writers to life, especially in schools where, for a variety of reasons, literature has lost its core-curricular status, and in general society where the classics seem to have less and less import? (3) What might Shakespeare or Cervantes be said to stand for in their respective cultures, both in terms of the genres they wrote in (it is often forgotten, for instance, that Cervantes was also a poet and a dramatist) and the extra-literary values they are said to transmit? (4) What is the role of the State in the safeguarding and promotion of the nation’s cultural heritage?","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"105 - 91"},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48135303","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
Finding Refuge in King Lear: From Brexit to Shakespeare’s European Value 《李尔王》的庇护:从英国脱欧到莎士比亚的欧洲价值
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-06-30 DOI: 10.18778/2083-8530.19.07
Stephen O'Neill
{"title":"Finding Refuge in King Lear: From Brexit to Shakespeare’s European Value","authors":"Stephen O'Neill","doi":"10.18778/2083-8530.19.07","DOIUrl":"https://doi.org/10.18778/2083-8530.19.07","url":null,"abstract":"Abstract This article considers how Shakespeare’s King Lear has become a Brexit play across a range of discourses and media, from theatre productions and journalism to social media. With its themes of division and disbursement, of cliff edges and tragic self-immolation, Lear is the Shakespearean play that has been turned to as metaphor and analogy for the UK’s decision following the 23 June 2016 referendum to leave the European Union. Reading this presentist application of Shakespeare, the article attends to Shakespeare as itself a discourse through which cultural ideas, both real and imaginary, about Brexit and the EU are negotiated. It asks how can we might remap Lear in this present context―what other meanings and histories are to be derived from the play, especially in Lear’s exile and search for refuge, or in Cordelia’s departure for and return from France? Moving from a consideration of a Brexit Lear to an archipelagic and even European Lear, this article argues that Shakespeare is simultaneously a site of supranational connections and of a desire for values of empathy and refuge that reverberate with debates about migration in Europe.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"119 - 138"},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44788248","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
Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012 英国的跨文化铸造:融入之路，1972-2012
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-06-30 DOI: 10.18778/2083-8530.19.03
Jami Rogers
{"title":"Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012","authors":"Jami Rogers","doi":"10.18778/2083-8530.19.03","DOIUrl":"https://doi.org/10.18778/2083-8530.19.03","url":null,"abstract":"Abstract This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"55 - 70"},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42423289","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: 2
“I fear I am not in my perfect mind.” Jan Klata’s King Lear and the Crisis of Europe “我担心我的脑子不太好。”扬·克拉塔的《李尔王与欧洲危机》
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-06-30 DOI: 10.18778/2083-8530.19.06
M. Cieślak
{"title":"“I fear I am not in my perfect mind.” Jan Klata’s King Lear and the Crisis of Europe","authors":"M. Cieślak","doi":"10.18778/2083-8530.19.06","DOIUrl":"https://doi.org/10.18778/2083-8530.19.06","url":null,"abstract":"Abstract In his Shakespearean productions Jan Klata tends to radically experiment with sets, texts, and contexts. He puts the plays in culturally and politically specific locations, experiments with bi- or multilingual productions, and incorporates other texts into the Shakespearean frame. In this way, he uses Shakespeare as a means to address contemporary problems and tensions that are vital for his geopolitical reality, exploring the issues of national identities, the cultural legacy of Europe and its nations, as well as past conflicts and present crises. Klata’s King Lear (Narodowy Teatr Stary, Kraków, 2014), set in the religious context of the Catholic Church and using mostly Polish language, with only decorative additions in foreign languages, does not engage in European politics with the same directness and force as his earlier productions. And yet, as I wish to argue, this performance is also strongly concerned with European identity, and may, therefore, be seen as a valid voice in the discussion on how Shakespearean productions help to understand our current-day reality.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"107 - 117"},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44119533","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
King John in the “Vormärz”: Worrying Politics and Pathos “Vormärz”中的约翰国王：令人担忧的政治与病理
IF 0.2
Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-06-30 DOI: 10.18778/2083-8530.19.04
R. Gillett
{"title":"King John in the “Vormärz”: Worrying Politics and Pathos","authors":"R. Gillett","doi":"10.18778/2083-8530.19.04","DOIUrl":"https://doi.org/10.18778/2083-8530.19.04","url":null,"abstract":"Abstract This article picks up on a tendency of recent criticism to look to Shakespeare for insights into contemporary politics, and extends it backwards to the period of German history known as the “Vormärz”―the period between 1815 and 1848. It establishes parallels between that period and the current debates about Brexit, and shows how equivalent issues are reflected in the accounts of King John given by three leading German critics of the “Vormärz” period―which also successively demonstrate the deleterious rise of German nationalism. These issues include: the weaknesses, mistakes and crimes of the powerful, and their effect both on the nation directly afflicted with them, and on others; the issue of national sovereignty and its relationship to the fellowship of nations; the struggle against arguably alien ways of thinking; the dividing line between necessary compromise and rank betrayal; the dilemma of choice; and the poisoned chalice of democratic freedom. And the parallels they establish between Shakespeare, the “Vormärz” and us are as instructive as they are unsettling.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"71 - 89"},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41839912","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
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