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1

THE SEA AND WOMEN IN SHAKESPEARE’S FIRST TETRALOGY

100%
Cheang W. F.
Gender Studies
|
2013
|
vol. 12
|
issue 1
68-92
EN
The garden is a powerful imagery in Shakespeare history plays, yet the sea also plays an important role. By discussing episodes and metaphors related to the sea in Shakespeare’s first tetralogy, this paper aims to demonstrate Shakespeare’s macro-spatial perspective of England as an island, whose history is influenced by elements on and across the sea. The paper also examines Shakespeare’s dramatization of women’s interconnections with the sea. It attempts to contextualize Shakespeare’s dramatic representation of the sea and of women within English Renaissance maritime culture.
2

The Problem of Kingship in Shakespeare’S History Plays

100%
Dumitrašković T.
Romanian Journal of English Studies
|
2014
|
vol. 11
|
issue 1
78-85
EN
Elizabethan England was a state of repression and Shakespeare could not write his plays freely and he could not oppose Elizabeth and her government openly. So he had to use allegory and every one of his plays is an act of rebellion. This paper deals with Shakespeare’s history plays which are symbols of resistance to the rule of force and war politics, and that message is implicit in the way of presenting kings.
3
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Reappropriations of Shakespearean history on the post-communist Hungarian stage

72%
Földváry K.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2021
|
vol. 24
|
issue Special_Issue
239-253
EN
The essay examines Hungarian theatrical productions of Shakespeare's history plays in the post-1989 period, pointing out the paradoxical qualities of the genre that can make these plays at once distant and foreign to non-British audiences. Nevertheless, these dramas' representations of political conflict and power struggles may also explain their adaptability to local socio-historical and political contexts. After an overview of the stage history of the chronicle plays on Hungarian stages, including possible reasons given for the noticeable popularity of certain works over others, this article also reflects briefly on the new attitudes to Shakespearean translation since the post-1989 period. The final section focuses on three contemporary productions of Shakespearean history plays, comparing and contrasting the way they make use of the early modern practice of doubling. Ways in which textual strategies are employed as well as how casting and scenographic choices infuse the dramas with political interpretations rooted in the here and now of the performances are also considered.
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