{"title":"夏洛克的鬼魂","authors":"Elena Pellone","doi":"10.1177/01847678211062924","DOIUrl":null,"url":null,"abstract":"Compagnia de’ Colombari, directed by Karin Coonrod, fashioned The Merchant in Venice from the stones of the Venetian Ghetto: Shylock's haunting ghost corporealised under moonlight. This 2016 production followed Max Reinhardt's Venetian Merchant in 1934: another lingering ghost of Shylock. These productions intersected in a vision to create bonds between strangers. Looking back on them in the Covid-19 pandemic context of isolation and intolerance, they remind us of the restorative hope in a globalised theatre. This essay engages with the way the Ghetto, Venice and Shylock speak back, inverting the perspective of the ‘other’, framed by personal reflections of the author-actor playing Nerissa.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"12 30 1","pages":"63 - 81"},"PeriodicalIF":0.2000,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Shylock’s ghosts\",\"authors\":\"Elena Pellone\",\"doi\":\"10.1177/01847678211062924\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Compagnia de’ Colombari, directed by Karin Coonrod, fashioned The Merchant in Venice from the stones of the Venetian Ghetto: Shylock's haunting ghost corporealised under moonlight. This 2016 production followed Max Reinhardt's Venetian Merchant in 1934: another lingering ghost of Shylock. These productions intersected in a vision to create bonds between strangers. Looking back on them in the Covid-19 pandemic context of isolation and intolerance, they remind us of the restorative hope in a globalised theatre. This essay engages with the way the Ghetto, Venice and Shylock speak back, inverting the perspective of the ‘other’, framed by personal reflections of the author-actor playing Nerissa.\",\"PeriodicalId\":42648,\"journal\":{\"name\":\"CAHIERS ELISABETHAINS\",\"volume\":\"12 30 1\",\"pages\":\"63 - 81\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-12-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"CAHIERS ELISABETHAINS\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1177/01847678211062924\",\"RegionNum\":2,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, BRITISH ISLES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"CAHIERS ELISABETHAINS","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/01847678211062924","RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, BRITISH ISLES","Score":null,"Total":0}
Compagnia de’ Colombari, directed by Karin Coonrod, fashioned The Merchant in Venice from the stones of the Venetian Ghetto: Shylock's haunting ghost corporealised under moonlight. This 2016 production followed Max Reinhardt's Venetian Merchant in 1934: another lingering ghost of Shylock. These productions intersected in a vision to create bonds between strangers. Looking back on them in the Covid-19 pandemic context of isolation and intolerance, they remind us of the restorative hope in a globalised theatre. This essay engages with the way the Ghetto, Venice and Shylock speak back, inverting the perspective of the ‘other’, framed by personal reflections of the author-actor playing Nerissa.
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