Results found: 2

Search results

Search:
in the keywords: The Taming of the Shrew

Sort By:

Limit search:

In search of the 'real Shakespeare': Sándor Hevesi's Taming of the Shrew in 1923, Budapest

100%

Reuss G.

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

2023

vol. 26

issue 1

55-81

This study introduces Sándor Hevesi (1873–1939), a Hungarian translator, theatre critic, Shakespeare scholar and opera and theatre director, who played a crucial role in the Budapest theatre scene in the 1920s. His work has received less attention than it deserves, and particularly the so-called Shakespearecycles, i.e., Hevesi's serialised Shakespeare productions, are still neglected. The cycles/series were performed between 1922 and 1933, while Hevesi was artistic and managing director of the National Theatre. These productions resuscitated the then fading Hungarian Shakespeare cult and profoundly changed the Hungarian reception and performance of Shakespeare. Hevesi's intention was to present both authentic and popular Shakespeare productions, therefore, he sought the key to 'the real Shakespeare'. The present study intends to explore what Hevesi (could have) meant by this expression, and particularly focuses on an unknown manuscript, Hevesi's own, handwritten director's copy of the Taming of the Shrew (1923). Through the case study of his staging of the Shrew, the paper reveals Hevesi's particular methods of close reading, translation, and stage direction. It concludes that Hevesi's concept of the 'real Shakespeare' was in fact a complex, experimental journey, transcending the boundaries of stage direction, dramaturgy, and scenography of the day.

The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew

80%

Kahn L.

Multicultural Shakespeare: Translation, Appropriation and Performance

2017

vol. 16

issue 31

13-27

This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenthcentury Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and reflecting Jewish cultural values at a time when the language was still primarily a written medium on the cusp of its large-scale revernacularisation in Palestine. The article examines the ways in which Elkind’s employment of a Judaising translation technique drawing heavily on romantic imagery from prominent biblical intertexts, particularly the Book of Ruth and the Song of Songs, affects the Petruchio and Katherine plotline in the target text. Elkind’s use of carefully selected biblical names for the main characters and his conscious insertion of biblical verses well known in Jewish tradition for their romantic connotations serve to transform Petruchio and Katherine into Peretz and Hoglah, the heroes of a distinctly Jewish love story which offers a unique and intriguing perspective on the translation of Shakespearean comedy.

Refine search results

1 Multicultural Shakespeare: Translation, Appropriation and Performance

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

1 Kahn L.

1 Reuss G.

1 2023

1 2017

Search results

In search of the 'real Shakespeare': Sándor Hevesi's Taming of the Shrew in 1923, Budapest

The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew