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The Yard and Korean Shakespeare

100%

Lee H.-u.

Multicultural Shakespeare: Translation, Appropriation and Performance

2013

vol. 10

issue 25

39-52

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.

Хата ў народных уяўленнях (на матэрыяле Берасцейшчыны пачатку ХХI стагоддзя)

45%

Жыгар С.

Białorutenistyka Białostocka

2017

vol. 9

W artykule omówiono dom jako element kulturowo-pejzażowego kodu w mityczno-epickim obrazie świata, wyrażonego w folklorze okręgu brzeskiego (według badań terenowych ostatnich 15 lat). Analiza historyczno-genetyczna i funkcjonalno-semantyczna „tekstu domu” w folklorze omawianego regionu pokazała, że jego percepcja polega na rozumieniu domu nie tylko jako miejsca egzystowania człowieka lecz także miejsca gdzie człowiek może koegzystować ze światem kosmicznym i sakralnym. Semiotyzacja domu przebiega na dwóch płaszczyznach – poziomej i pionowej. W wybranych gospodarstwach, w kontekstach rytualno-magicznych, w rodzajach i gatunkach dom jest centrum wszechświata. Szczególną uwagę zwrócono na specjalne obrzędy, zasady i zakazy, których należało przestrzegać w trakcie budowy domu. Pokazano znaczenie jakie przypisywano wyborowi miejsca i czasu budowy. Analiza materiału z początku XXI wieku (zwłaszcza teksty dotyczące chrztu, ślubu, pogrzebu, wróżby i klechdy) świadczy o tym, że czynnikiem determinującym znaczenie domu po dzień dzisiejszy jest opozycja „swój – obcy”. Im dalej od domu, tym więcej „obcego”, nieznanego, niebezpiecznego. Poza tym, w centralnej części domu (w piecu) można znaleźć wyjście w nieznany świat. Badanie folklorystyczno-etnograficzne prowadzono na materiale z regionów brzeskiego, kamienieckiego, iwanowskiego, okolic miejscowości Łuniniec, Małoryta, Iwancewicze.

In the article the house is considered as a factor of cultural and landscape code in the mythological-poetic image of the world expressed in the folklore of Brest region (according to the field records of the last 15 years). The historical-genetic and functional-semantic research of “the text of the house” in Brest folklore has shown that it was regarded by the national consciousness not only as a person’s dwelling but also as a special form of the universe, the place where a person can interact with natural, cosmic and sacral world. Semiotization of the house takes place on two coordinates: horizontal and vertical. In selected households, in ritual and magic contexts, in specific types and genres of folklore the house becomes the center of the universe. Particular attention is paid to special ceremonies, bans and rules that were obeyed during the construction of the house. It is shown how important the selection of construction place and construction time was. The analyzed material (stories about christening, weddings, funerals, signs and beliefs in particular) proves that house semiotization is determined by the opposition “familiar – unfamiliar”. The further from home one goes away, more “unfamiliar”, unknown, and dangerous the place s/he lives in becomes. Besides, even in the center of the house (on a stove) there can be an entrance to another world. The folklore and ethnographic research is based on the material from Brest, Kamenets, Luninets, Ivanovo, Malorita and Ivatsevichi regions.

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1 Białorutenistyka Białostocka

1 Multicultural Shakespeare: Translation, Appropriation and Performance

1 2017

1 2013

1 Lee H.-u.

1 Жыгар С.

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The Yard and Korean Shakespeare

Хата ў народных уяўленнях (на матэрыяле Берасцейшчыны пачатку ХХI стагоддзя)