“我所有的剧本都以地点命名”:大卫·格雷格与伊丽莎白·安吉尔-佩雷斯的谈话

Elisabeth Angel-Perez
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引用次数: 0

摘要

摘要:伊丽莎白·安吉尔-佩雷斯(Elisabeth Angel-Perez)和大卫·格雷格(David Greig)于2023年1月16日通过WhatsApp进行了采访,专门为本期《莎士比亚公报》特刊进行了采访。对话的重点是格雷格将莎士比亚作为当代戏剧的原型。格雷格在他的戏剧《Dunsinane》(2010)中强调了地理和语言上的错位,这是莎士比亚的《麦克白》的续集,这使他能够描绘出一个帝国主义大国和一个被殖民国家之间的冲突接触区。他解释了邓西内是如何成为当代苏格兰的政治寓言,以及中东和乌克兰的战争,同时又将莎士比亚作为文化霸权的原型去中心化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“I name all my plays after places”: David Greig in conversation with Elisabeth Angel-Perez
Abstract: This interview between Elisabeth Angel-Perez and David Greig, which took place on 16 January 2023 over WhatsApp, was conducted specifically for this special issue of Shakespeare Bulletin . The conversation focuses on Greig’s use of Shakespeare as a matrix for contemporary drama. Greig stresses the geographical and linguistic displacements in his play Dunsinane (2010), a sequel to Shakespeare’s Macbeth , which allowed him to map out a conflictual contact zone between an imperialistic power and a country that has been colonized. He explains how Dunsinane serves as a political parable—for contemporary Scotland, but also the wars in the Middle East and Ukraine—while at the same time decentering Shakespeare as a cultural hegemonic matrix.
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