Search results - CEJSH

1

Intellectuals vs. Stars: The Case of Novelli’s Shylock

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Pujante A. L., University of Murcia, Ángel-Luis Pujante is Professor of English at the University of Murcia S. H. i. t. a. o. E. m. s. d. M. H. B. H. i. t. c.-e. o. M. E. S.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

2

Towards Intercultural Dialogue with Shakespeare

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Colarusso D. M., University of Toronto, Dana Mafalda Colarusso (B.Ed. M. A. E. L. i. c. c. h. P. D. i. E. a. t. O. I. f. S. i. E. a. t. U. o. T. H. d. s. e. t. c. r. p. a. d. m. o. E. t. i. r. t. t. t. o. a. i. m. e. c. i. t. g. a. S. i. a. a. m. o. I. t. I. A. f. t. I. o. M. T. E. a. a. i. e. a. f. i. j. L. E. S. i. L. a. L. P. t. c. g. s.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

3

The Doublet and Hose: A Question of Identity in As You Like It

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Deb I., Nistarini College P., Indrani Deb is the Principal of Nistarini College P.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

4

Theatre reviews: Jovial Usurper in the Traditional Kyogen Style: Kuninusubito (based on Richard III) at the Setagaya Public Theatre, Tokyo

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Noda M., Meiji University in Tokyo, Manabu Noda is Professor at School of Arts and Letters M. U.-s. i. T. H. s. i. B. t. h.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

5

To love the Moor? The representation of Otherness in Spanish translations of Othello .

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Ezpeleta Piorno P., University Jaume I S., Pilar Ezpeleta Piorno is senior lecturer at the Department of Transla-tion and Communication of the University Jaume I S.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

6

Shakespeare in Romania: The Meandering Road from Adoption to Adaptation

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Sirbulescu E., University of Craiova R., Emil Sirbulescu teaches English and American literature at the Univer-sity of Craiova R. H. s. i. i. S. a. t. R.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

7

Shakespearean criticism in Poland in the inter-war period (1918–1939)

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Stanisz E., Państwowa Wyższa Szkoła Zawodowa w Nowym Sączu, Elżbieta Stanisz PhD; is a teacher trainer and lecturer at the State Higher Vocational School in Nowy Sącz (Państwowa Wyższa Szkoła Zawodowa w Nowym Sączu) w. s. t. c. i. B. C.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

8

Book reviews: Yoshiko Kawachi. Sheikusupia no Sekai [Shakespeare’s World]. Tokyo: Seibido, 2007. ISBN 978-4-7919-7124-4c1082. Pp. 307. Price 4000 Yen

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Ryuta M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

9

Okładki szekspirowskie jako zwierciadło kultury. Rekonesans

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Gibińska M.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

205-213

EN

Referring to Niklas Luhmann’s systems theory and to Even-Zohan’s polysystem theory, I show how we can interpret the way Shakespeare’s works are published in Great Britain and the United States. The book cover treated as a cultural fact points to a network of connexions of very different processes as well as to the dynamics of shifts taking place within these networks. In the article, I discuss the essence of old luxury editions as a function of the owner’s social status, their education and aspirations, but also of Shakespeare’s place in the hegemony of culture of a given period or of economic links between the publishing market and the buyer. I enquire into the changing nature of these relations by tracing the history of publishing Shakespeare’s works in the 19th and 20th centuries and paying close attention to their English-language academic, cheap ‘pocket-book’, school, and popular editions. Viewed from the perspective of cultural studies, the book cover constitutes a paratext which is an important element of every published literary work. It enables interpretation of the given text’s significance on numerous levels; moreover, it makes it possible to observe the phenomenon at issue both synchronically and diachronically in various systems and to trace the transformations of the text, the author, its prestige and reception. Examination of book covers can be also an important part of research into shifts within social, economic, and political systems, thus enabling us not only to draw conclusions relating to a given phenomenon but also those concerning changes in how a culture functions.

10

Ślady źródła. O wybranych realizacjach szekspirowskich w polskim teatrze więziennym

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Hasiuk M.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

145-174

EN

The text presents experiences of theatre work with Shakespearean repertoire (Shakespearean plays, themes and inspirations) in resocialisation-centre communities. References to the same type of activity in English-speaking countries (in the US, Australia, England, Wales, and Northern Ireland) as well as in Italy and RSA provide a background that enables the author to map out the phenomenon of Polish performances in greater detail. The Shakespeare of Polish prisons, though still a rarity, turns out to be a multifaceted phenomenon varied in terms of theatre aesthetics, dramatic interpretation, modes of work and their goals. The research material on which the article is based consists of the following productions: Hamlet za kratą (‘Hamlet Behind Bars’) directed by Przemysław Pałosz at the Opole Detention Centre in 1994; the Kłodzko „Makbet” według Szekspira (‘Macbeth According to Shakespeare’) directed by Krzysztof Papis at the Po drodze Prison Theatre in 2006; the cycle of Hamletbased performances prepared by Magdalena Zelent at the Gdańsk Przeróbka Penal Institution (Szekspir – product czasowo niedostępny, 2011 [‘Shakespeare – the Product Temporarily Out of Stock’]; Hamlety – duchy ojców, 2012 [‘Hamlets – Ghosts of the Fathers’]; Hamlet. Leitmotiv, 2014); Wroniecka chuliganeria, 2011 (‘Thugs from Wronki’) by the Zniewoleni theatre group from the Wronki Penal Institution, and A Midsummer’s Night Dream directed by Joanna Lewicka by the Zapaleni.org theatre group with the participation of inmates from the Opole Lubelskie Penal Institution (2012). The analysis of particular phenomena reveals a flickering hybrid-form image of Shakespeare through which inmates try to express various existen tial nuances of being institutionalised and search for new ways of looking at the world.

11

Interkulturowy Shakespeare japońskich reżyserów Yukio Ninagawy i Tadashiego Suzukiego

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Partyga E.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

124-145

EN

The text examines production strategies used by Yukio Ninagawa and Tadashi Suzuki whilst interpreting Shakespeare’s dramas. Each of the directors has a fair number of Shakespearean productions co-defining their original author’s theatre formulas under their belt. Ninagawa offers his audiences a post-modern version of popular theatre where he responds to Shakespeare’s texts with his own historical and existential experience. Suzuki, who makes an elite theatre, presents Shakespeare’s plays side by side with numerous heterogeneous contexts to create collage scenarios seeking to uncover the universal condition of humanity. The Shakespearean productions of both directors can be included in a broad formula of intercultural theatre that strives to meet challenges of the globalising world by hybridising culture and nullifying the opposition between the familiar and the strange. Ninagawa and Suzuki purposefully throw their audiences off balance: the interpretations of Shakespeare they offer are equally surprising and disquieting for both the Japanese and the European spectators, so none of them may claim Shakespeare for themselves.

12

Burza – Szekspirowskie simulacra

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Kencki P.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

36-48

EN

The introductory part of the essay brings an account of Jean Baudrillard’s theory of simulation with the aim of appropriating it for the theory of theatre. The author, referring to his previous reflexions on the sphere of spectacles, this time attempts to define it not only in reference to the categories of spectacularity and performativity but also to that of simulacrity. Thus, a triangular model is created. Close to its vertices, phenomena that may be defined through one of the said categories can be located; along the triangle’s edges phenomena that need to be described in reference to two such categories would be situated; and finally, within its plane, one could place phenomena defined by all three categories. The phenomenon of theatre, as based on the combination of spectacularity, causal performativity and simulation, needs to be located in the centre of the diagram. The second part of the essay presents an analysis of The Tempest by Shakespeare and applies the conceptual tools described above. The analysis takes into account that the comedy, charged with a strong meta-theatre element, is located at the interpretational mezzanine of sorts and reveals its full meaning only through staging. Only then do its spectacular and performative aspects appear in sharp light, e.g. when actors as characters watch other actors (spectacularity), or when Prospero acts as a performer. The proposed reading of The Tempest, however, puts special emphasis on the problem of simulacra. As can be seen, their structure in Shakespeare’s work is quite peculiar (the title tempest): they are embedded in the meta-theatrical tradition (the clothes that simulate the change of status of their new wearers) and, significantly, appear as metaphors in other works by the Stratford playwright (the motif of ivy). It is easy to see that the presence of simulacra in the world portrayed in The Tempest allows the characters to free themselves from the appearances. The same chance is offered to the readers of the comedy and to the audience of the play as well.

13

Reinhardt reżyseruje Shakespeare’a. Przestrzeń jako paradygmat inscenizacji

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Leyko M.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

66-85

EN

Plays by Shakespeare constituted an important and strong element of the repertories of Max Reinhardt’s theatres, perhaps the strongest apart from the Greek tragedies, German and European classics, and contemporary drama. Novelty of Reinhardt’s Shakespearean productions becomes apparent when juxtaposed with the German tradition of staging Shakespeare, i.e. with productions by Ludwig Schröder, Ludwig Tieck, Franz Dingelstedt, or Georg von Meiningen. In Reinhardt’s case, the reform in stage technique went hand in hand with a new definition of goals for theatre: it stopped being subservient to literature and came to be viewed as using literature only as a basis for its own works. The key innovation of this programme was to stage classical plays using modern aesthetics: ‘Thanks to the classics, new life flows onto the stage; its colours and music, its greatness and grandeur, its joy’, the German director proclaimed. Max Reinhardt staged fifteen plays by the English playwright, some of which he produced only once (e.g. The Tempest or Julius Caesar), twice or thrice (Macbeth, The Comedy of Errors, King Henry IV, Love’s Labour’s Lost, Much Ado about Nothing) whereas some he revisited numerous times, producing them on different stages that offered varied space conditions – these include As You Like It, The Merchant of Venice, and A Midsummer Night’s Dream especially. The 1913–14 Season at the Deutsches Theater saw the beginning of A Shakespearean Cycle [Shakespeare-Zyklus] that showed thirteen premiere and re-run productions in total. The article focuses on select productions of A Midsummer Night’s Dream: at the Neues Theater in Berlin on a box stage in 1905; at the Künstlertheater in Munich on a frieze stage in 1909; in the Nicolasee park in Murnau in 1910; at Klessheim in 1932, and at the Hollywood Bowl amphitheatre for the audience of 20,000 people in 1935. They show how, depending on what space conditions he had, Reinhardt changed his strategies of directing.

14

MALE VS. FEMALE / MIND VS. BODY: A COGNITIVE DISCOURSE APPROACH TO TWO PLAYS BY SHAKESPEARE

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Romero E. D.

Gender Studies

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2013

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vol. 12

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issue 1

1-15

EN

The aim of the present paper is twofold: i) to show that the idea of a “savage mind” does not make sense unless accompanied by that of a wrong restraining body which needs to be broken to let the so-called “savage mind” out, and vice versa and ii) to prove this relieving process to be ultimately affected by gender. While women seem to need to resort to a third party body disguise in order to show their real selves out of their constraining bodies, it is precisely men’s minds which aim to liberate them. Examples to illustrate this idea will be taken from Rosalind and Audrey in Shakespeare’s As You Like It, on the female side, and Caliban and Ferdinand in The Tempest, on the other, male side.

15

Shakespeare and Skepticism. Stanley Cavell’s Interpretation of Skepticism in Othello

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Filipczuk M.

Zagadnienia Rodzajów Literackich

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2018

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vol. 61

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issue 1(125)

25-36

EN

In the present article I attempt to provide an account of the skeptic-narcissist paradox, which Stanley Cavell finds in Shakespeare’s Othello. On one hand, Othello is a “perfect soul”, on the other, he is condemned to the existence of the Other (Desdemona), in whose gaze the skeptic-narcissist could recognize himself. In this paradoxical sense — from Othello’s own perspective — Desdemona threatens his narcissistic integrity, being to him so essential. This is exactly what is involved in the self-contradictory logic of Othello’s skeptical attitude, resulting in consequence in the final tragedy.

16

Can in Shakespeare and Marlowe

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Skorasińska M.

Studia Anglica Posnaniensia

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2014

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vol. 49

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issue 1

31-55

EN

This paper seeks to present the main meanings and the use of the modal verb can in the plays of two Early Modern English playwrights, William Shakespeare and Christopher Marlowe. In particular, the study aims at presenting a comparative analysis and provides descriptive as well as quantitative data. The research is based on the analysis of the corpus consisting of the plays written by Shakespeare and Marlowe between 1593-1599. The choice of the works is not random but includes the plays which bear the strongest resemblance in terms of theme, structure, and most importantly, the language of both authors.

17

Shakespeare, czyli Wielkie łowy

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Komorowski J.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

7-28

EN

The symbolism of animals derived from medieval culture plays an important role in Shakespeare’s work, and it sometimes holds a place of great prominence. The same may be said of the motif of hunting for animals that can be as exotic and beyond reach as the elephant, or even completely fantastic. In Hamlet, the situation of the Prince of Denmark is described in terms of, symbolically charged, hunting, especially for a unicorn. The Greek Physiologus, as well as later bestiaries originating from it, informed that the best way to catch the wild and fierce unicorn was to send a virgin to the woods, and it was advisable that she be naked. Upon seeing her, the animal would soften, come close and trustingly lay its head in her lap. Shakespeare used this widespread visual-arts motif in the conversation between Hamlet and Ophelia before the performance of The Murder of Gonzago, wherein it functions only visually, without the animal ever being mentioned by name. When Hamlet, after a short, provocative exchange (‘Lady, shall I lie in your lap?’), rests his head in the girl’s lap, it is an onstage transposition of the iconographic, symbolical, motif. It refers to the previous ‘hunt for Hamlet’ effected by Claudius and Polonius, with Ophelia proffered as bait. But Hamlet is not only a unicorn; he is also the symbolic hart from the famous line ‘Why, let the stricken deer go weep,/ The hart ungalled play’. He escapes the hunters unscathed, ready to strike back. It is not accidental that Hamlet calls the provocative, tale-tell show “The Mouse-trap”, and as he stabs the unseen Polonius to death, erroneously thinking him to be the king hiding behind the tapestry, he shouts ‘How now! a rat?’ – because the diabolical symbolism of the mouse and the revulsion caused by rats also play a significant role in understanding the Shakespearean tragedy.

18

Wątki szekspirowskie w serialu "Doctor Who"

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Gierszewsla M.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

214-225

EN

The article aims at analysing how stereotypical opinions about William Shakespeare and his work function in the famous BBC television programme Doctor Who, which shows the adventures of a humanoid alien of the Time Lords race who is known as the Doctor and is travelling though time and space. Except for the action focused on rescuing individual people or whole civilisations, the programme explores some cliché opinions relating to particular periods of the past and the future. Among the episodes containing historical and literary references there is also ‘The Shakespeare Code’ from 2007, which can be seen as homage to the Stratford master. It shows both the continuing interest in the subject among the contemporary audience as well as persistence of some popular opinions about the author and his plays. The article describes the references to Shakespeare’s life and work appearing in the episode, with special emphasis on direct quotes from his works. They are compared to the facts known about his biography and origins of his plays. Interdisciplinary approach applied here serves to provide a reconstruction of how Shakespeare is perceived in popular opinion and to show the mechanisms and clichés that the authors of the series use. The article also distinguishes between stereotypical opinions of linguistic, situational, and visual kinds. The conclusions reached in the article shed some light on the reception of Shakespeare’s work in popular culture.

19

The vacant utopia : reflecting on the first Polish post-war staging of The Tempest

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Pożar P.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2020

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vol. 23

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issue 1

131-149

EN

In 1947 Leon Schiller staged The Tempest as his first post-war Shakespeare play. From today's perspective, his choice possibly reveals the intention to counter the harshness of post-war reality or to display a sense of an unbroken connection to pre-war efforts. However, the inherent utopianism of The Tempest coupled with all too fervent championing of his own theatrical theory laid bare the vanity of Schiller's endeavours. Furthermore, the new translation of the play turned out defective, as it was found to be coalesced with the 19th century canonical Polish version. Schiller's partisan aspirations raise additional doubts as to his motivations. Several central ideas of the play were lost in this staging, leaving one to doubt whether the utopic character of the play was been contaminated by the new hope the Soviet regime brought with it. Reviewing this production of The Tempest can provide insights into an interim period when cultural processes in Poland were moulding, a new Polish Shakespearean canon was but anticipated, and Kott's Shakespeare, Our Contemporary (1964) had yet to enter the stage.

20

The Yard and Korean Shakespeare

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Lee H.-u.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2013

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vol. 10

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issue 25

39-52

EN

Since the New Globe Theatre opened in 1996, they have used the yard as an acting area or entrances. Even though the authenticity of using the yard is disputable, nobody denies that the yard must be a very effective tool for performing Shakespeare at the Globe Theatre. The yard is an essential part of traditional Korean theatre, called “talchum (mask dance)” or “talnori (mask play).” The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as players, or acting as if they were some of the audience. The theatrical style of using the yard has much influenced the modern theatre of Korea. And many Korean directors including Oh Tae-suk, Yang Jung-ung, Sohn Jin-chaek, Park Sung-hwan, and myself, have applied the yard techniques to their Shakespearean productions. Korean Shakespearean productions, which use the yard actively, can be more evidence that the yard must be an effective tool for Shakespeare, not only at the Globe Theatre but also at any kind of theatres of today. No one knows whether Shakespeare actually used the yard or not. But the fact that many Shakespearean productions have used the yard successfully, implies that Shakespeare's texts themselves have enough room for the yard.

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