Shakespeare最新文献

{"title":"Shakespeare in Activism: Podcasts, Processions and the Public’s Richard II","authors":"M. Greenberg","doi":"10.1080/17450918.2023.2171709","DOIUrl":"https://doi.org/10.1080/17450918.2023.2171709","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43287153","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":"Taking Shakespeare in Stride: Lady Macbeth at the American Repertory Theatre","authors":"Bailey Sincox","doi":"10.1080/17450918.2023.2170702","DOIUrl":"https://doi.org/10.1080/17450918.2023.2170702","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44112044","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":"Playbooks and their Readers in Early Modern England","authors":"Jane Rickard","doi":"10.1080/17450918.2023.2170188","DOIUrl":"https://doi.org/10.1080/17450918.2023.2170188","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"249 - 250"},"PeriodicalIF":0.3,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43887005","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":"‘This it is when men are ruled by women’: The Ableists’ Curse and the RSC’s 2022 production of Richard III (directed by Gregory Doran) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 June-8 October 2022","authors":"D. Cartmell, Peter J. Smith","doi":"10.1080/17450918.2022.2158686","DOIUrl":"https://doi.org/10.1080/17450918.2022.2158686","url":null,"abstract":"Staged as the third in a series, following 2 and 3 Henry VI (titled Rebellion and Wars of the Roses), this Richard III shared its designer – Stephen Brimson Lewis – with the other two productions. What started out as a series of stage-floor platforms in Part 2 had decayed into fractured and half-buried duckboards of a World War I trench in Part 3. By the time of the opening of Richard III, the unchanging set was a huge red box with a clear, uncluttered stage, over which towered a replica of Sir Edwin Lutyens’s Cenotaph, dedicated in 1920 to the fallen of the Great War and rededicated in 1946 to those lost in World War II. (Figure 1) Richard III reminds us, in the various scenes of mourning mothers and queens, that war ruins female as well as male lives and in 2005, John W. Mills’s memorial to the Women of World War II (further north along Whitehall) underlined the suffering of those left behind the front. In Lewis’s design, the phallic brutality of the Cenotaph suggested both the generations of those lost and being lost as well as the macho vanity of the great dictator – Mussolini, Stalin, Hitler and now, bare chested on his steed, or seated at the end of a Brobdingnaggian conference table, Putin. As Shakespeare’s play demonstrates, while men skirmish to realize political or territorial ambition, women and children pay the price. In the production’s final moments, a wreath of red and white roses was laid at the base of the Cenotaph as though such tokenism could possibly ameliorate the slaughter that prompted it. Never have Richmond’s (Nicholas Armfield) sanctimonious pieties – ‘That [peace] may long live here, God say “Amen”’ (5.6.41) – sounded so hollow. As the assembled cast knelt upstage to face the Cenotaph, the play’s most desperate casualty, Queen Margaret (Minnie Gale), crawled out from stage left, curled up on the floor, facing downstage, her back to the memorial, and died.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"265 1","pages":"402 - 413"},"PeriodicalIF":0.3,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41298512","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 Much Ado About Nothing (Directed by Robert Hastie for Ramps on the Moon) at the Crucible, Sheffield Theatres, 20 September 2022","authors":"Grace Mold","doi":"10.1080/17450918.2022.2160654","DOIUrl":"https://doi.org/10.1080/17450918.2022.2160654","url":null,"abstract":"This year it was Sheffield Theatres’ turn to lead the annual Ramps on the Moon production. Ramps on the Moon is a collaborative partnership between seven powerhouse theatres and venues from around the UK, who take turns to host productions each year. The goal behind the project is to ‘enrich stories, and the ways in which they are told, by normalising the presence of deaf, disabled and neurodiverse people both on and off stage’, as the director, Robert Hastie, put it in his programme notes. Sheffield Theatres chose to perform Shakespeare’s Much Ado About Nothing, a play that currently seems to be having a moment of particular prominence with the likes of the National Theatre and the Globe both putting on productions during the same run, as well as the RSC earlier in the year. The production took to the stage of the Crucible during its 50th anniversary year. The play opened with the cast, which was a mixture of deaf, neurodiverse, disabled and non-disabled performers, introducing their character’s name and detailing their costume for the benefit of audio description. Their opening lines were interlaced with jokes from the off, with Benedick announcing that he was wearing a blue suit, trainers and ‘a chip on my shoulder’. The play was made up of a combination of British Sign Language, Sign Supported English, visual storytelling and physical theatre so each character also introduced what techniques they would be using as each actor differed in this respect. Although this amount of information seemed overwhelming at first, one soon relaxed as the play began to flow and it became clearer how the story would be communicated. The characters tended to come in pairs whereby one performer signed the lines and the other simultaneously spoke them, swapping for each character’s lines, so all grounds were covered at almost any time. As opposed to having audio describers or sign language interpreters placed at the perimeter of the stage, accessibility was built into the roots of the performance. Additionally, each side of the stage had digital caption boards. Emily","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"419 - 422"},"PeriodicalIF":0.3,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43793384","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":"The Nose Plays: Nasiform Negotiations at Newington Butts","authors":"Laurie Johnson","doi":"10.1080/17450918.2023.2183086","DOIUrl":"https://doi.org/10.1080/17450918.2023.2183086","url":null,"abstract":"ABSTRACT Shakespeare’s Shylock, Marlowe’s Barabas, and other Jewish characters are often thought to have been portrayed on early modern stages with a large false nose. This essay will explain how this commonplace view began as a falsified proposition by John Payne Collier in 1836, which subsequent scholarship has failed to properly dispel, instead projecting a post-Enlightenment stereotype onto early modern culture. I argue that by studying the use of the false nose in recycled fashion across contiguous plays in repertory it becomes possible to recognise that this stage property called on its audiences to negotiate its meanings from a range of possible sources, including the other plays in the same sequence. Using the repertory of the Lord Admiral’s Men and Lord Chamberlain’s Men at Newington Butts in 1594, I discuss some of the ways in which the stage nose represented villainy, risibility, and ribaldry without necessarily signifying Jewishness at this time. That Barabas could signify all of these things and also be a Jew may nevertheless have contributed to later generations identifying the nose as one of the stereotypical features of the early modern depictions of Jews on stage.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"24 - 37"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48424934","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":"Knowing What we are Making: Props, Scholarship, and the Pandemic","authors":"Sophie Duncan","doi":"10.1080/17450918.2023.2183094","DOIUrl":"https://doi.org/10.1080/17450918.2023.2183094","url":null,"abstract":"ABSTRACT This article is mindful of two separate phenomena: that recent years have seen a plethora of methodologically diverse and rewardingly curious works on theatre props, and that the Covid-19 pandemic halted in-person dramatic performance in the UK to a greater extent and for a longer duration than at any time since 1660. Accordingly, this essay offers four broad headings for enquiry, situating theatrical props in their longer past as well as theatre and archival conditions as we recently knew them: definitions, racialised props, methodologies, and futures.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"125 - 141"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46534429","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":"‘What els do Maskes, but Maskers Show’: Masked Ladies in Shakespeare’s Comedies","authors":"H. Bachrach","doi":"10.1080/17450918.2023.2183093","DOIUrl":"https://doi.org/10.1080/17450918.2023.2183093","url":null,"abstract":"ABSTRACT Black vizard masks, worn as a fashion accessory in the early modern period, were a source of mixed anxieties: while they were worn by many women, they were associated with sex workers. Vizards preserved pale beauty but also could conceal the lack thereof. This essay proposes that William Shakespeare’s comedies tap into these tensions, first by proposing that fashionable vizard masks were indeed worn onstage. Using Love’s Labour’s Lost and Much Ado About Nothing as key case studies, I then argue that these costume masks, weighted with the baggage of both offstage prostitution and the stage history of cloth racial prosthetics, carried specific semiotic meaning, allowing playwrights a shorthand for reflecting on contemporary fears regarding women’s whiteness, sexual availability, and the impossibility of ever knowing a woman’s heart by looking at her face.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"8 - 23"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47313334","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 for Everyone? History, Dramaturgy, and the Black Flesh as Prop in Transracial Shakespeare","authors":"Matthieu Chapman","doi":"10.1080/17450918.2023.2183091","DOIUrl":"https://doi.org/10.1080/17450918.2023.2183091","url":null,"abstract":"ABSTRACT In this autoethnographic essay, the author reflects upon and interrogates racialised trends in American theatre stemming from participation as the silent role of ‘Othello’s man’ in a college production of Othello. Using black flesh as an object to be exploited for cultural capital by white theatregoers and theatremakers, the author adopts an Afro-Pessimist methodology to consider how non-speaking black characters in early modern dramatic performance become a spectacle emptied of actual agency or ‘being’, akin to a stage property. The inclusion of black actors in mostly white Shakespeare productions often leads to mental anguish for the performers, who inevitably become enmeshed in the anti-blackness of Shakespeare’s dramaturgy.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"80 - 92"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47877259","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":"The Dramaturgy of Ophelia’s Bouquet","authors":"Chelsea Phillips, Kenzie Lynn Bradley, Veshonte Brown, Luke Davis, Kate Fischer, Alycia Gonzalez, J. Bean Schwab, Timothy Storey, Sarah Stryker","doi":"10.1080/17450918.2023.2183095","DOIUrl":"https://doi.org/10.1080/17450918.2023.2183095","url":null,"abstract":"ABSTRACT What does Ophelia carry with her on stage in Act 4, scene 5 of Hamlet? She names a variety of botanicals, but productions have often replaced these with sticks, bones, pills, toys, or nothing at all. These replacements seek to provide modern audiences with more accessible or relatable symbols but can rarely capture the complexity and ambiguity of the originals. On page and stage, Ophelia’s bouquet has become a key to interpreting her in her madness – the meaning ascribed to her plants going hand in hand with the presumed qualities she displays in the scene, from childish innocence to overt sexuality to defiant anger. This essay details a series of staging experiments conducted in a graduate Shakespeare class to investigate the dramaturgical possibilities of Ophelia’s bouquet, asking how these items shape our perception and understanding of Ophelia, her mental state, and place within the play.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"19 1","pages":"108 - 124"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45339681","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}