Shakespeare最新文献

{"title":"<i>Santiago</i> : Making Bilingual Shakespeare Count","authors":"James M. Sutton","doi":"10.1080/17450918.2023.2261898","DOIUrl":"https://doi.org/10.1080/17450918.2023.2261898","url":null,"abstract":"ABSTRACTSantiago is a bilingual script of Othello, created jointly by Joe Falocco of Texas State University and Shakespearean scholar and translator Alfredo Michel Modenessi. Developed during spring 2023, it was performed as a staged reading at the 51st Annual Shakespeare Association of America Conference. This production directed by Maija Garcia of the Guthrie Theatre's Professional Training Program, featured a BIPOC and Latine cast. In performance, the script offered new perspectives on Othello, shifting focus away from Othello and Desdemona and highlighting Iago and Emilia instead. Santiago thus seems less concerned with issues of race and colourism than with questions of religious and cultural identity, especially as marked by linguistic power founded upon the ability to code-switch with ease between two languages, in this case, (Shakespeare's) English and (Modenessi's) Spanish. An extended interview with Falocco, Modenessi, and the two Texas State actors who voiced in Minneapolis examines these claims; a coda then places Santiago into wider conversation with prior scholarship on the nature of translation, issues of Othello and race, and the newly emergent field of Borderlands Shakespeare.KEYWORDS: OthellotranslationShakespearean performanceLatine ShakespeareBorderlands Shakespeare Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Buffone and Della Gatta, ‘Introduction: Shakespeare and Latinidad’, 3.2 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxii.3 Falocco, ‘Echoes of Cervantes’, 8.4 Little, ‘Introduction’, 6.5 Ibid., 9.6 Kendi, How to be an Antiracist, 40.7 Little, ‘Introduction’, 4.8 Ibid., 14.9 Bevington, The Complete Works of Shakespeare, ‘Antony and Cleopatra’, 1.5.29.10 Bevington, The Complete Works of Shakespeare, ‘Merchant of Venice’, 2.1.2–4.11 Bevington, The Complete Works of Shakespeare, ‘Othello’, 3.4.29–30.12 Falocco, ‘Echoes of Cervantes’, 2–4.13 Quoted in Falocco, ‘Echoes of Cervantes’, 3.14 Cobb, King, and Kello, ‘A Theatre Practice’, 205.15 Ibid., 206.16 Rekskou, ‘Translating Richard’, 98–100.17 Modenessi, ‘Every Like is not the Same’.18 Joubin, ‘Others Within’, 31–33.19 Schroeder-Arce, ‘Shakespeare with … Latinx Youth’, 128–35.20 Thompson, ‘Practicing a Theory’, 1–26.21 Modenessi, ‘You Say’, 40–42.22 Falocco, ‘Lleno de Tejanidad’, 170–77.23 Botelho, ‘De-Emphasizing Race’, 370–74.24 De Sousa, ‘Introduction’, 137.25 Corredera, ‘The Moor Makes a Cameo’, 359–60.26 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxiii.27 Ibid., xv–xvi.28 Espinosa, ‘Don’t It Make My Brown Eyes’, 57.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135696146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bound by Non-action: The Art of Not Doing in The Banquet and Prince of the Himalayas","authors":"Linhan Gan","doi":"10.1080/17450918.2023.2273931","DOIUrl":"https://doi.org/10.1080/17450918.2023.2273931","url":null,"abstract":"ABSTRACT In their adaptations of Hamlet, the two Chinese films, The Banquet and Prince of the Himalayas, present the protagonists' dilemma from a very different light and emphasizes the role of non-action in their exploration of self-worth and the objective truth. As a popular Taoist practice, wu wei, as prince Wu Luan clearly shows, allows one to achieve integration with primordial nature. In politics, it helps one govern in the most natural and unselfconscious manner. For the Tibetan prince, Lhamoklodan, the Buddhist meditation is key to attaining the truth. This deliberate non-action helps the prince to discover his lineage and reach spiritual awakening. Neither of the films gives non-action an unqualified endorsement, however. An uncritical observance of wu wei leaves one vulnerable in the political world; for Buddhism, violence is sometimes justified, insofar as it helps a would-be wrong-doer avoid the accumulation of further negative karma.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shakespeare’s Virtuous Theatre: Power, Capacity, and the Good <b>Shakespeare’s Virtuous Theatre: Power, Capacity, and the Good</b> , edited by Kent Lehnhof, Julia Reinhard Lupton, and Carolyn Sale, Edinburgh, Edinburgh University Press, 2023, x + 334 pp., £95 (hardback), ISBN 978-1-4744-9904-0","authors":"Fernando Martinez Periset","doi":"10.1080/17450918.2023.2264821","DOIUrl":"https://doi.org/10.1080/17450918.2023.2264821","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135893533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–1900 <b>Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–1900</b> , by Suddhaseel Sen, New York and Abingdon, Routledge, 2021, xv + 248 pp., £115.00 (hardback), ISBN: 978-0-367-56886-3","authors":"Shormishtha Panja","doi":"10.1080/17450918.2023.2258855","DOIUrl":"https://doi.org/10.1080/17450918.2023.2258855","url":null,"abstract":"\"Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–1900.\" Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136154048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Re-localising Shakespeare in Pakistan: A Post-Dramatic Appropriation of Shakespeare’s <i>The Taming of the Shrew</i> as <i>Illaj-e-Zid-Dastiyab-Hey</i>","authors":"Zakia Resshid Ehsen, Amra Raza, Shahzeb Khan","doi":"10.1080/17450918.2023.2255162","DOIUrl":"https://doi.org/10.1080/17450918.2023.2255162","url":null,"abstract":"ABSTRACTThis research examines the political nature of appropriation in Pakistan’s theatrical production Illaje-Zid-Dastiyab-Hey (2012), an Urdu adaptation of William Shakespeare’s The Taming of the Shrew (1590). During the Cultural Olympiad of 2012, the play was presented at London’s Globe Theatre under the direction of Haissam Hussain. The study investigates how the use of appropriative techniques enables the playwright to portray Pakistani identity and uphold the country’s cultural heritage. The paper argues that by contextualising and appropriating the work within the specific cultural and social milieu of Pakistan, the appropriated play strives to foster a sense of local identity and promote a deeper understanding of Pakistan among a diverse global audience. It accomplishes the above by analysing the changes in plot structure, symbol and sign display, musicalization, dance, and multimedia installations in the live performance of the Pakistani variant using Hans Theis Lehmann’s Post-dramatic theory (1960). Moreover, the study also examines how Hussain’s adaptation departs from conventional drama from a post-dramatic perspective. In addition to localising the play, this approach also enables a broader appreciation of Pakistan’s unique cultural heritage by depicting its cultural traditions and historical legacy.KEYWORDS: LahorePakistani cultureindigeneityUrdu and Pashtu languagesmusical instrumentsShakespeare’s Globe Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Buckley, ‘An Equal Partnership’, 81.2 Ibid.3 Shahid, Shakespeare Gets a Pakistani Makeover, 68.4 Hutcheon, Theory of Adaptation, 103.5 Marsden, Appropriation of Shakespeare, 1.6 Abad, ‘Appropriating Shakespeare’, 5, 8.7 Lehmann, Post Dramatic Theatre, 24, 92, 141, 81, 92, 131, 35, 131, 21, 141, 91, 62, 89, 86, 89, 85, 91.8 Bulman, The Oxford Handbook of Shakespeare and Performance, 129, 423, 581.9 Crossley, Woods and Pinchbeck, Active Experiencing in Postdramatic, 146, 153, 159.10 Lehmann, Post Dramatic Theatre.11 Carlson, ‘Postdramatic Theatre and Postdramatic Performance’, 577–95.12 Ibid.13 Shakespeare, The Taming of the Shrew, 470.14 Ibid.15 Pakistan Pashtuns.16 Shakespeare in Urdu, 149, 155.17 Shamsi, BBC Urdu News.18 Sharif, ‘Literary and Linguistic Exploration’, 78–89.19 Khan, University of Mianwali.20 https://dpomwi.punjabpolice.gov.pk/district_overview21 Iqbal, Shakespeare’s Globe.22 Sharif, ‘Literary and Linguistic Exploration’.23 Lehmann, Post Dramatic Theatre.24 Mohammad Muazzam Sharif, ‘Critique On The Presence’, 4333.25 Systems, Pakistan Development Perspective.26 Sheehan, Cultures of the World.27 https://bcmcr.org/culturaltranslation/tag/homi-bhabha/28 Bhabha, ‘Postcolonial Authority and Postmodern Guilt’, 56–96.29 https://bcmcr.org/culturaltranslation/tag/homi-bhabha/30 Bhabha, ‘Postcolonial Authority and Postmodern Guilt’.31 Abad, ‘Appropriating Shakespeare’.32 Shakespeare, W. The Taming of the Shrew.33 Iqbal, Shakespeare’s Gl","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136308304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Industrial Nature: The Unrealised <i>King Lear</i> of Norman Bel Geddes","authors":"Roger Graham","doi":"10.1080/17450918.2023.2240298","DOIUrl":"https://doi.org/10.1080/17450918.2023.2240298","url":null,"abstract":"ABSTRACTThis paper examines the surviving production evidence from the long-prepared but never staged production of King Lear from industrial designer Norman Bel Geddes and explores the evidence through the lens of Bel Geddes as regisseur. Following a brief introduction to Bel Geddes’ artistic background, it considers the evidence in light of several forces influencing the world of American theatre at the time. This paper goes on to devote considerable focus not only to the evidence specifically related to the King Lear production, including the production script and scene renderings, but also to the ongoing connection between the production and Bel Geddes’ design for ‘Theatre Six’ and its integral role in manifesting the designer’s vision for his adaptation of Shakespeare: the paradoxical use of developing technology to aid in returning the staging of Shakespeare to its Early Modern form. The paper concludes with a consideration of the manner in which his approach to Shakespeare illustrates the need to answer Bel Geddes’ plea for supporting new voices in theatre.KEYWORDS: ShakespeareKing LearNorman Bel Geddestheatrical design Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Bel Geddes, Papers, Theater Box 156, Folder j3. Norman Bel Geddes to Dorothy Lockhart, October 17, 1929.2 Wilson and Goldfarb. Living Theatre, 371.3 Moderwell, The Theatre of Today, 59.4 Ibid., 64.5 Bel Geddes’ handwritten notes on the title page of his personal copy of: Moderwell, The Theatre of Today. Located at The Harry Ransom Center, The University of Texas at Austin. Austin, Texas. Call no. PN 2189 M6 HRC-TA, Copy 3.6 Bel Geddes’ handwritten note, page 64 of his personal copy of: Moderwell, The Theatre of Today. Located at The Harry Ransom Center, The University of Texas at Austin. Austin, Texas. Call no. PN 2189 M6 HRC-TA, Copy 3.7 Szerlip, ‘Colossal in Scale’.8 Bel Geddes, Miracle in the Evening, 132.9 Ibid., 95.10 Macgowan, ‘New Path of the Theatre’, 85–86.11 Reinhardt, ‘Theatre Through Reinhardt’s Eyes’, 65.12 Craig, A Living Theatre, 3.13 Bragdon, ‘Towards a New Theatre’, 172.14 Bel Geddes, Papers, Theater Box 156, Folder j3. Norman Bel Geddes to Dorothy Lockhart, October 17, 1929.15 Fuerst and Hume, Twentieth-Century Stage Decoration, 5.16 Ibid.17 Kennedy, Looking at Shakespeare, 26.18 Ibid., 27.19 Dobson et al., Oxford Companion to Shakespeare, 437.20 Kennedy, Looking at Shakespeare, 35.21 Crosse, Shakespearean Playgoing 1890-1952, 47.22 Bel Geddes, Miracle in the Evening, 342.23 Wilson and Goldfarb, Living Theatre, 418.24 Bel Geddes, ‘Theatre of the Future’, 124.25 Bel Geddes had first encountered Appia’s work through Hiram Moderwell, whose The Theatre of Today featured an Appia design opposite its title page.26 Craig, A Living Theatre, 4.27 Appia, Music and the Art, 13.28 Simonson, ‘The Necessary Illusion’, 91.29 Macgowan, ‘The New Path of the Theatre’, 89.30 Hornblow, Theatre in America, 320.31 Bel Geddes, Miracle in t","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135148667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference","authors":"Emma Venter","doi":"10.1080/17450918.2023.2258839","DOIUrl":"https://doi.org/10.1080/17450918.2023.2258839","url":null,"abstract":"\"Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference.\" Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135397023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review of Shakespeare's <i>The Comedy of Errors</i> (Directed by Sean Holmes) and <i>Macbeth</i> (Directed by Abigail Graham) at Shakespeare's Globe Theatre, London, 5 July 2023 and 9 August 2023","authors":"Gemma Miller","doi":"10.1080/17450918.2023.2255570","DOIUrl":"https://doi.org/10.1080/17450918.2023.2255570","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135396864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dogs Urinating on the 1623 Folio: The Jaggard Press’s Dionysus Ornament in Context","authors":"Erika Mary Boeckeler","doi":"10.1080/17450918.2023.2249422","DOIUrl":"https://doi.org/10.1080/17450918.2023.2249422","url":null,"abstract":"This case study of the Dionysus ornament illustrates how the 1623 Shakespearean folio carries with it echoes of previous folio works as it reinterprets this image within its own context. The paper establishes the other Jaggard Press titles in which the headpiece appears to explore how these different contexts draw out the image’s semiotic potential. It notes an extreme uptick in use in Crooke’s Mikrokosmographia, an anatomical work in which urination and ejaculation feature prominently. Operating in tandem with the 1623 prefatory materials, the headpiece participates in the visual organisational logic of the Folio, structures the Folio’s establishment of generic variety, and introduces the volume-wide rhetorical strategy of reading Englishness within a global context. The woodcut’s synchronously urinating dogs also suggest a commentary on the communal bodily experience of live theatre. Having noted ways early modern printed folio projects can be mutually citational through ornaments, the paper discusses how the Shakespearean volume positions itself within the English inflection of classical single-author collected drama through the associations with Dionysus, patron god of drama, and Ben Jonson’s 1616 Workes. The conclusion considers the Second Folio’s adoption of the headpiece as part of the 1623 Folio’s iconic look.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135741739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Imagining the Soul in Premodern Literature","authors":"Alison Searle","doi":"10.1080/17450918.2023.2253787","DOIUrl":"https://doi.org/10.1080/17450918.2023.2253787","url":null,"abstract":"\"Imagining the Soul in Premodern Literature.\" Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135826689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}