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1

Burza – Szekspirowskie simulacra

100%

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.

2

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

100%

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.

3

The Females and the Non-Humans in Julie Taymor’sThe Tempest

100%

Mori Y.

Gender Studies

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2015

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vol. 14

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issue 1

1-11

EN

In Julie Taymor’s film version of Shakespeare’s The Tempest (2010), Prospero is changed into a female, Prospera. As almost all the original lines and plots are retained, the film would appear to be a ‘straight’ film version of Shakespeare. However, changing the sex of the main character sheds a new light on the original play and proves the film to be an inspiring adaptation. By examining the relationship between the female characters (Prospera, Miranda) and the non-humans (Caliban, Ariel) in the film, this paper will show how deeply sexuality is related to the power struggle and the final reconciliation.

4

"Bezcielesne widowisko". Maska weselna w "Burzy" Shakespeare'a

100%

Olechnowicz E.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

49-65

EN

The dramatic structure of Shakespeare’s Tempest is infused with elements of spectacularity that show the control Prospero has over his enchanted island. His power is revealed mostly by his limitless ability to direct the chain of events. Time and time again, spirits on his orders appear in visible form to shape the flow of events and make his political plan happen. Unlike in most theatre plays, the masque episodes do not constitute just an interlude without any consequences for the overall meaning of the drama but are in accord with it. It is so, because the theme of The Tempest is akin to that of court masques, which deal with power and its limits. Prospero, with all elements yielding to his power, plays in The Tempest the role of the king in masque. Masques express in an allegorical way similar convictions about the nature of the world that are expressed dramatically in The Tempest. In masque and in The Tempest alike, what is material turns out to be fleeting and elusive while slyness turns out to be short-sighted. The power to shape reality rests only with the authority that commands people and elements. In The Tempest, it is Prospero’s magical powers; in masque, it is the God-given power of the king.

5

Authority in Crisis? The Dynamic of the Relationship Between Prospero and Miranda in Appropriations of The Tempest

88%

Cieślak M.

Text Matters: A Journal of Literature, Theory and Culture

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2017

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issue 7

161-182

EN

The relationship between Prospero and Miranda is fairly typical for Shakespeare’s way of portraying parental authority and filial obligation. A strong and authoritative father, an absent mother and a (potentially) rebellious daughter are character types reused in many of his plays. In The Tempest, authority, power and ownership, be it political or domestic, are important themes. In criticism, Prospero is frequently discussed through the prism of his attitude to his “subordinates” - Ariel, Caliban and Miranda - and the play’s narrative is interpreted in the context of the theatre of power. Parental authority, a social construct, is a dynamic thing, and the Renaissance patterns discernible in Shakespeare’s plays are refashioned and changed in contemporary adaptations and appropriations of his plays. Informed by New Historicism and Cultural Materialism in relation to gender studies, this article seeks to examine the changing dynamics of the Prospero-Miranda relationship in three films - Derek Jarman’s (1979), Paul Mazursky’s (1982), and Julie Taymor’s (2010) - as well as Philip Osment’s 1988 play This Island’s Mine. Focusing on the issue of authority, power and ownership, the article aims at showing how stereotypical social and gender roles resonate with various political contexts of power.

6

O tłumaczeniu jednego wersu Burzy Shakespeare’a Metafora w przekładzie dramatu

88%

Kowalcze-Pawlik A.

Między Oryginałem a Przekładem

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2014

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vol. 25

87-103

EN

The aim of this article is to discuss the existing Polish translations of one passage from The Tempest in the light of such essential components of the translation process as the need to include the situational context, metaphorical language as well as the socio‑historical background of the source text. The first part of the article discusses the history of drama translation in Poland with reference to The Tempest of William Shakespeare, while the second part describes translation strategies correlating to two divergent interpretations which link character construction in language with the overall meaning of the dramatic work.

7

On a Romantic Island: Shakespeare and Mamma mia

88%

Wild J. B.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2019

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vol. 20

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issue 35

151-161

EN

The paper concerns the blockbuster musical film Mamma mia, loosely using some of Shakespearean patterns, topoi and plots. Set on a small Greek island, idylic and exotic, the film offers a contemporary romantic story with new/reversed roles in terms of gender, parenthood, sexuality, marriage and age, pointing to a different cultural paradigm. While the Shakespearean level is recast, remixed and probably less visible, the priority is given to the utopia of the 1970s and to the question of its outcome and transformation.

8

Authority in Crisis? The Dynamic of the Relationship Between Prospero and Miranda in Appropriations of The Tempest

88%

Cieślak M.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

issue 7

161-182

EN

The relationship between Prospero and Miranda is fairly typical for Shakespeare’s way of portraying parental authority and filial obligation. A strong and authoritative father, an absent mother and a (potentially) rebellious daughter are character types reused in many of his plays. In The Tempest, authority, power and ownership, be it political or domestic, are important themes. In criticism, Prospero is frequently discussed through the prism of his attitude to his “subordinates” - Ariel, Caliban and Miranda - and the play’s narrative is interpreted in the context of the theatre of power. Parental authority, a social construct, is a dynamic thing, and the Renaissance patterns discernible in Shakespeare’s plays are refashioned and changed in contemporary adaptations and appropriations of his plays. Informed by New Historicism and Cultural Materialism in relation to gender studies, this article seeks to examine the changing dynamics of the Prospero-Miranda relationship in three films - Derek Jarman’s (1979), Paul Mazursky’s (1982), and Julie Taymor’s (2010) - as well as Philip Osment’s 1988 play This Island’s Mine. Focusing on the issue of authority, power and ownership, the article aims at showing how stereotypical social and gender roles resonate with various political contexts of power.

9

Maritime Fantasies and Gender Space in Three Shakespearean Comedies

75%

Cheang W. F.

Gender Studies

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2012

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vol. 11

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issue 1

23-37

EN

Laden with sea images, Shakespeare‘s plays dramatise the maritime fantasies of his time. This paper discusses the representation of maritime elements in Twelfth Night, The Tempest and The Merchant of Venice by relating them to gender and space issues. It focuses on Shakespeare‘s creation of maritime space as space of liberty for his female characters.

10

Teatro Praga’s Omission of Shakespeare – An Intercultural Space

75%

Sequeira Mendes M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2017

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vol. 15

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issue 30

91-104

EN

Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a space in-between, as it were, which might be described as intercultural. “Inter,” as the OED clarifies, means something “among, amid, in between, in the midst.” Each of Teatro Praga’s Shakespearean adaptations, seems to exist in this “in-between” space, in the sense that they are named after Shakespeare, but are mediated by a combination of subsequent innovations. Shakespeare then emerges, or exists, in the interval between his own plays and the way they have been discussed, quoted, and misquoted across time, shaping the identities of those trying to perform his works and those observing its re-enactments on stage while being shaped himself. The fact that these adaptations only use Shakespeare’s words from time to time leads critics to consider that Teatro Praga is working against Shakespeare (or, to admirers of Henry Purcell, against his compositions). This process, however, reframes Shakespeare’s intercultural legacy and, thus, reinforces its appeal.

11

Maternity and Absence in Shakespearean Romance

63%

Hopkins H.

Messages, Sages and Ages

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2016

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vol. 3

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issue 1

17-27

EN

The equivocation of the private life of Elizabethan and Jacobean subjects with the public life of monarchy and state endowed mothers with an import, and therefore a power, not previously acknowledged. These changes provoked a fear of female disruption to patriarchal structures which found its way onto Shakespeare’s stage by the representation of mothers as ‘unnatural’ agents of chaos, associated with witchcraft, murder, dangerous ambition, and infidelity; if not by complete absence, which “posits the sacrifice of the mother’s desire as the basis of the ideal society” (Rose, 1991: 313). I suggest that in the late romances, specifically The Winter's Tale and The Tempest, Shakespeare found a form that could demonstrate the complexity of the mother’s position, while still resolving the action with a satisfactory ending that presented a stable continuation of patriarchal lineage. The fathers rely on a fantasy of parthenogenesis to relocate the role of the mother in themselves, ensuring the children are free from her corruptive influence and the bloodlines are safe. However, as all themes return to maternity - chastity, fertility, lineage for example - the fantasy of eradicating the mother is shown to be limited even in the artificial realm of the romance.

12

The Tempest and Three Journeys. William Shakespeare and Daniel Naborowski

63%

Mrowcewicz K.

Nauka

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2019

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issue 4

EN

The article talks about three visits paid in 1609, 1611 and 1612 by prince Janusz Radziwiłł and Daniel Naborowski – one of the most eminent poets of the Polish Baroque – at the court of king James I in London. These visits were related to the wedding plans – Władysław IV Vasa, son of king Sigismund III Vasa, was supposed to marry English princess Elizabeth Stuart. In her honour Naborowski wrote a famous poem entitled Na oczy królewny angielskiej (For English Princess’ Eyes). During the second visit at the English court, 1st November 1611, Radziwiłł and Naborowski were probably watching the staging of Shakespeare’s The Tempest in the Banqueting House in the Palace of Whitehall. The author of the article points out a possible source of Shakespeare’s play which was a text written by a Polish humanist Marcin Kromer, widely known in Europe of those times thanks to its latin translation. Kromer’s text described a story of young prince Sigismund (the future king Sigismund III Vasa) who was born on an island in Malårm Lake where Eric XIV of Sweden imprisoned his parents: Eric’s brother John III of Sweden and his wife Catherine Jagiellon. A Polish poet Daniel Naborowski might have seen and possibly met William Shakespeare.

13

Kabbalah, "Dybbuks", and the Religious Posthuman in the Shakespearean Worlds of "Twin Peaks"

51%

Starks L. S.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2021

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vol. 24

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issue 39

29-52

EN

In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new -and often extreme-heights in its use of Kabbalah and other traditions. Twin Peaks involves spiritual dimensions that tap into other planes of existence in which struggles between benign and destructive entities or forces, multiple universes, and extradimensional, nonhuman spirits question the centrality of the human and radically challenge traditional Western notions of being. Twin Peaks draws from Shakespeare’s expansive imagination to explore these dimensions of reality that include nonhuman entities-demons, angels, and other spirits-existing beyond and outside of fabricated, human-centered worlds, with the dybbuk functioning as the embodiment of the postsecular religious posthuman.

14

Shakespeare in the post-1989 Hungarian Puppet Scene

51%

Reuss G.

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

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2021

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vol. 24

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issue Special_Issue

151-170

EN

Although according to popular belief puppet theatre is a children's amusement while Shakespeare traditionally belongs to live theatre, in Hungary the two acting traditions seem to come together in the 2000s, bringing positive changes in both spheres. Theatre practitioners elsewhere in the Central European region have already experimented with ‘the third genre' (JURKOWSKI 2014: 33), namely, a new way of theatrical expression featuring actors and puppet elements on stage. Indeed, talented theatre directors could often find no work in any other domain. In Hungary, where puppet theatres were obliged to cater to no one else but a very young audience and were thus for the general adult spectatorship often overlooked, the time has come only in the post-1989 decades to explore this new and highly metaphorical theatrical language. The era has produced changes in puppetry training and puppetry as educational medium. Within this environment, relatively few stagings of Shakespeare were produced, although these included remarkable productions by Krofta and Balogh in 2006, and by Somogyi and Szikszai in 2018.

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Burza – Szekspirowskie simulacra

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

The Females and the Non-Humans in Julie Taymor’sThe Tempest

"Bezcielesne widowisko". Maska weselna w "Burzy" Shakespeare'a

Authority in Crisis? The Dynamic of the Relationship Between Prospero and Miranda in Appropriations of The Tempest

O tłumaczeniu jednego wersu Burzy Shakespeare’a Metafora w przekładzie dramatu

On a Romantic Island: Shakespeare and Mamma mia

Authority in Crisis? The Dynamic of the Relationship Between Prospero and Miranda in Appropriations of The Tempest

Maritime Fantasies and Gender Space in Three Shakespearean Comedies

Teatro Praga’s Omission of Shakespeare – An Intercultural Space

Maternity and Absence in Shakespearean Romance

The Tempest and Three Journeys. William Shakespeare and Daniel Naborowski

Kabbalah, "Dybbuks", and the Religious Posthuman in the Shakespearean Worlds of "Twin Peaks"

Shakespeare in the post-1989 Hungarian Puppet Scene