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Theatre Reviews 戏剧评论

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-06-30 DOI: 10.18778/2083-8530.19.10

Eleni Pilla, Xenia Georgopoulou

{"title":"Theatre Reviews","authors":"Eleni Pilla, Xenia Georgopoulou","doi":"10.18778/2083-8530.19.10","DOIUrl":"https://doi.org/10.18778/2083-8530.19.10","url":null,"abstract":"Richard III, directed by Paris Erotokritou for the Main Stage of the Cyprus Theatrical Organization (THOC) in Nicosia, was fully packed on both evenings that I went to see it. The production offered a unique Shakespeare experience. Being the second longest play in the Shakespearean canon, Richard III is undoubtedly a difficult play to make accessible to an audience with no prior knowledge of Shakespeare’s language, the specific play and genre, or British history. The Cypriot audience is familiar with plays such as Othello, with four acts taking place in Cyprus, Hamlet and A Midsummer Night’s Dream. Erotokritou’s spectacular production was ingenious and captivating, thus rising formidably to the challenge of staging Shakespeare’s history play for the first time in Cyprus. The Greek translation that was used for the production was by Nikos Hatzopoulos. The stage design for Richard III deftly brought the audience close to the characters of the play. A central aisle was constructed in the middle of the auditorium, so that the audience sat on both sides of it, and at the back of the aisle there were also several rows of seats. High walls on the stage opened and shut, in certain instances very quickly, creating a sense of urgency. At one point Richard was right in between the walls as they shut and his walking stick touched the closing wall. The use of light and shadow was particularly astute. Richard appeared in spotlight during parts of his soliloquies. The shadow of Clarence on the wall magnified his stature when his murderers arrived, functioning as an ironic contrast to the diminution he would undergo once murdered. From the outset, Richard, played by Prokopis Agathocleous, was a very remarkable presence on stage. Richard began the “Now is the winter of our discontent” speech in Greek from the back of the aisle and progressed towards the stage facing the audience. (A similar strategy was employed in","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"183 - 192"},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67663312","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

Je suis Shakespeare: The Making of Shared Identities in France and Europe in Crisis 我是莎士比亚:危机中的法国和欧洲共同身份的形成

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-06-30 DOI: 10.18778/2083-8530.19.02

Nicole Fayard

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引用次数: 0

Shakespeare's Literary Lives. The Author as Character in Fiction and Film 莎士比亚的文学生涯。小说和电影中的作者角色

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2019-01-01 DOI: 10.18778/2083-8530.19.09

Cornelis Heijes

引用次数: 1

A Floresta que Anda (The Moving Forest). Dir. Christiane Jatahy. Teatro Nacional Dona Maria II, Lisbon, Portugal 移动的森林。导演Christiane Jatahy。多纳玛利亚二世国家剧院，葡萄牙里斯本

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-30 DOI: 10.18778/2083-8530.18.12

F. Rayner

{"title":"A Floresta que Anda (The Moving Forest). Dir. Christiane Jatahy. Teatro Nacional Dona Maria II, Lisbon, Portugal","authors":"F. Rayner","doi":"10.18778/2083-8530.18.12","DOIUrl":"https://doi.org/10.18778/2083-8530.18.12","url":null,"abstract":"In Act 5 Scene 5 of Macbeth, a startled Messenger informs Macbeth: “As I did stand my watch upon the hill / I looked toward Birnam and anon methought / The wood began to move” (5.5.32-34). Hearing this, Macbeth realizes that his sense of infallibility is misplaced: “If this which he avouches does appear, / There is nor flying hence nor tarrying here” (5.5.46-47). In Christiane Jatahy’s adaptation, Birnam Wood morphed into a technological forest and the fear that Macbeth senses when it comes towards him created the basis for a collective challenge to the global disorders unleashed by very contemporary tyrants. When the audience entered the performance space, there were no comfortable seats from which to watch the tragedy of Macbeth unfold. Instead, the audience climbed onto the stage itself, where there were four viewing screens and a bar in the corner. The screens projected the stories of four individuals: Igor, a Brazilian political prisoner, Michele, a working-class Brazilian black woman who saw her uncle murdered by the police in a Rio de Janeiro slum, Aboud, a refugee from the Syrian civil war currently living in Germany, and Prosper, a war refugee from the Congo now living in São Paulo, Brazil. These stories of political persecution and exile were not filmed in conventional documentary style. While the characters narrated their experiences to camera, the visual images focused not on their faces but on fragments of arms, legs, eyes, tables, parakeets, flights of stairs. Their testimonies were interspersed with apparently random comments by mothers, friends and children who strayed into the film. Audience members chose how long they stayed with each of these stories and in which order. They could supplement the viewing with visits to the bar or engage in private conversations.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"1 1","pages":"179 - 188"},"PeriodicalIF":0.2,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67663443","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

Interview with Bryan Reynolds 布莱恩·雷诺兹访谈

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-30 DOI: 10.18778/2083-8530.18.02

Krystyna Kujawińska Courtney

引用次数: 0

Hamlet Underground: Revisiting Shakespeare and Dostoevsky 地下哈姆雷特:重读莎士比亚和陀思妥耶夫斯基

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.06

C. Thurman

引用次数: 1

Decentering the Bard: The Localization of King Lear in Egyptian TV Drama Dahsha 去中心化诗人:埃及电视剧《达沙》中李尔王的本土化

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.10

Yasser Fouad Selim

{"title":"Decentering the Bard: The Localization of King Lear in Egyptian TV Drama Dahsha","authors":"Yasser Fouad Selim","doi":"10.18778/2083-8530.18.10","DOIUrl":"https://doi.org/10.18778/2083-8530.18.10","url":null,"abstract":"Abstract Dahsha [Bewilderment] is an Egyptian TV series written by scriptwriter Abdelrahim Kamal and adapted from Shakespeare’s King Lear. The TV drama locates Al Basel Hamad Al Basha, Lear’s counterpart, in Upper Egypt and follows a localized version of the king’s tragedy starting from the division of his lands between his two wicked daughters and the disinheritance of his sincere daughter till his downfall. This study examines the relationship between Dahsha and King Lear and investigates the position of the Bard when contextualized in other cultures, revisited in other locales, and retold in other languages. It raises many questions about Shakespeare’s proximity to the transcultural/transnational adaptations of his plays. Does Shakespeare’s discourse limit the interpretation of the adapted works or does it promote intercultural conversations between the varying worldviews? Where is the Bard positioned when contextualized in other cultures, revisited in other locales, and retold in other languages? Does he stand in the center or at the margin? The study attempts to answer these questions and to read the Egyptian localization of King Lear as an independent work that transposes Shakespeare from a central dominant element into a periphery that remains visible in the background of the Upper Egyptian drama.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"18 1","pages":"145 - 160"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49100781","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

Shakespeare in Hawai‘i: Puritans, Missionaries, and Language Trouble in James Grant Benton’s Twelf Nite O Wateva!, a Hawaiian Pidgin Translation of Twelfth Night 莎士比亚在夏威夷:詹姆士·格兰特·本顿的《十二夜》中的清教徒、传教士和语言障碍这是夏威夷洋泾浜语翻译的《第十二夜》

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.05

Rhema Hokama

{"title":"Shakespeare in Hawai‘i: Puritans, Missionaries, and Language Trouble in James Grant Benton’s Twelf Nite O Wateva!, a Hawaiian Pidgin Translation of Twelfth Night","authors":"Rhema Hokama","doi":"10.18778/2083-8530.18.05","DOIUrl":"https://doi.org/10.18778/2083-8530.18.05","url":null,"abstract":"Abstract In 1974, the Honolulu-based director James Grant Benton wrote and staged Twelf Nite O Wateva!, a Hawaiian pidgin translation of Shakespeare’s Twelfth Night. In Benton’s translation, Malolio (Malvolio) strives to overcome his reliance on pidgin English in his efforts to ascend the Islands’ class hierarchy. In doing so, Malolio alters his native pidgin in order to sound more haole (white). Using historical models of Protestant identity and Shakespeare’s original text, Benton explores the relationship between pidgin language and social privilege in contemporary Hawai‘i. In the first part of this essay, I argue that Benton characterizes Malolio’s social aspirations against two historical moments of religious conflict and struggle: post-Reformation England and post-contact Hawai‘i. In particular, I show that Benton aligns historical caricatures of early modern puritans with cultural views of Protestant missionaries from New England who arrived in Hawai‘i beginning in the 1820s. In the essay’s second part, I demonstrate that Benton crafts Malolio’s pretentious pidgin by modeling it on Shakespeare’s own language. During his most ostentatious outbursts, Malolio’s lines consist of phrases extracted nearly verbatim from Shakespeare’s original play. In Twelf Nite, Shakespeare’s language becomes a model for speech that is inauthentic, affected, and above all, haole.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"18 1","pages":"57 - 77"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46550260","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

Shakespeare in Digital Games and Virtual Worlds 数字游戏和虚拟世界中的莎士比亚

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.09

Eleni Timplalexi

{"title":"Shakespeare in Digital Games and Virtual Worlds","authors":"Eleni Timplalexi","doi":"10.18778/2083-8530.18.09","DOIUrl":"https://doi.org/10.18778/2083-8530.18.09","url":null,"abstract":"Abstract Shakespeare’s plays have long flirted with using various artistic and medial forms other than theatre, such as cinema, music, visual arts, television, comics, animation and, lately, digital games and virtual worlds. Especially in the 20th and 21st century, a fascination with Shakespeare both as a historical and theatrical figure and as a playwright has become evident in screen based media (cinema, television and video), ranging from “faithful,” almost documented performances of his plays to free style adaptations or vague film references. Digital games and virtual worlds carry on this tradition of the transmedial journey of Shakespeare’s plays to screen based media but top it up with new forms of interaction and performativity. For the first time in the history of mankind everyone can enjoy firsthand from his armchair and for free the experience of taking part in a play by the Bard by entering a virtual world as if it was a stage and by assuming roles through avatars. The article attempts first to introduce the reader to the deeper needs that gave rise to animation, a fundamental aspect of digital gaming and virtual worlds. It then tries to illuminate the various facets of digital performance and gaming, especially in relation to Shakespeare-themed and inspired digital games and virtual worlds, by putting forward some axes of classification. Finally, it both suggests some ideas that may be of use in rendering the Shakespeare gaming experience more “complete” and “theatrical” and ends by acknowledging the immense potential for the exploration of theatricality and performativity in digital games and virtual worlds.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"18 1","pages":"129 - 144"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45811768","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: 6

What bloody film is this? Macbeth for our time 这是什么鬼电影?我们这个时代的麦克白

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.08

Agnieszka Rasmus

{"title":"What bloody film is this? Macbeth for our time","authors":"Agnieszka Rasmus","doi":"10.18778/2083-8530.18.08","DOIUrl":"https://doi.org/10.18778/2083-8530.18.08","url":null,"abstract":"Abstract When Roman Polanski’s Macbeth hit the screens in 1971, its bloody imagery, pessimism, violence and nudity were often perceived as excessive or at least highly controversial. While the film was initially analysed mostly in relation to Polanski’s personal life, his past as a WWII child survivor and the husband of the murdered pregnant wife, Sharon Tate, in retrospect its bleak imagery speaks not only for his unique personal experience but also serves as a powerful comment on the American malaise, fears and paranoia that were triggered, amongst other things, by the brutal act of the Manson Family. We had to wait forty four years for another mainstream adaptation of the play and it is tempting not only to compare Kurzel’s Macbeth to its predecessor in terms of how more accepting we have become of graphic depictions of violence on screen but also to ask a more fundamental question: if in future years we were to historicise the new version, what would it tell us about the present moment? The paper proposes that despite its medieval setting and Scottish scenery, the film’s visual code seems to transgress any specific time or place. Imbued in mist, its location becomes more fluid and evocative of any barren and sterile landscape that we have come to associate with war. Seen against a larger backdrop of the current political climate with its growing nationalism and radicalism spanning from the Middle East, through Europe to the US, Kurzel’s Macbeth with its numerous bold textual interventions and powerful mise-en-scène offers a valid response to the current political crisis. His ultra brutal imagery and the portrayal of children echo Polanski’s final assertion of perpetuating violence, only this time, tragically and more pessimistically, with children as not only the victims of war but also its active players.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"18 1","pages":"115 - 128"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49237474","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