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Original Pronunciation and the United States: The Case of A Midsummer Night’s Dream by Paul Meier (2010, 2012)

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Russo E.
Review of International American Studies
|
2022
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vol. 15
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issue 2
211-231
EN
In 2004 Romeo and Juliet in Original Pronunciation (OP) was staged at Shakespeare’s Globe, inaugurating what Crystal would later define the OP movement (2016) - a movement aiming to restore the original sound of both the literary and non-literary works of the past. While academic literature suggests an irregular theatrical interest in the Shakespearean OP in the UK, it also demonstrates that such restoratory projects have proven increasingly appealing to the US audiences. The reasons why the North American theater goers' are attracted to the Shakespearean OP remain unclear. Based on a qualitative analysis of interviews with Paul Meier, the director of the theatrical and radio production A Midsummer Night’s Dream (2010, 2012) and two of his cast members, and complementing the findings with the study of promotional and non-promotional articles concerning the productions, this paper aims to shed light on the rationale behind the North American fascination with the Shakespearean OP. As Meier’s reflections gravitate towards the identity of the US as a former British colony, this study, relying extensively on literature review, is carried out both through the lens of literary/cultural history and of historical linguistics. Finally, though limited in its scope, this paper intends to pave the way for further studies on the relationship between the allure of the OP and the US culture, and thereby  to enrich the area of investigation concerning Shakespeare's reception in the US and his role in the American culture.
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A midsummer night's dream in Polish puppet theatres in Silesia - Mise-en-Scène by Jan Dorman, Josef Krofta and Marián Pecko

100%
Tomaszewska E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2018
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vol. 21
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issue 2
95-111
EN
This article presents 3 performances based on Shakespeare's play: A Midsummer Night's Dream made for the Teatr Dzieci Zagłębia (The Zaglebie Children's Theatre) in Będzin (1965), Wrocław Puppet Theatre (2003) and in the Puppet Theatre 'Banialuka' in Bielsko-Biała (2013). They were created by the famous Polish creator, Jan Dorman and two artistic teams: Czech – under the direction of Josef Krofta, and Slovak – directed by Marián Pecko. The description of the three performances is presented in the context of the significant presence of artists from the Czech Republic and Slovakia on puppet theatre stages in Poland. Polish, Czech and Slovak puppetry collaboration became a reality at the end of the 1970s and took on a new quality after 1992. In Polish theatres at this time appeared stage directors such as: Brožek, Chalupová-Pěničková, Kopecký (Matěj, father and son), Krofta (Josef and Jakub), Nosálek, Pecko, Spišak, Štumpf; stage designers: Andraško, Doležal, Farkašova, Hubička, Lipták, Kalfus, Kuchinka, Kudlička, Polívka, Tománek, Volkmer, Zákostelecký, Zavarský; and composers: Mankovecký, Helebrand, Engonidis. At the same time, Czech artists such as Karel Brožek, Petr Nosálek, Jakub Krofta, became artistic directors of Polish puppet theatres in Katowice and Wrocław, which was an unprecedented phenomenon.
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