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Sex-speare vs. Shake-speare: On Nudity and Sexuality in Some Screen and Stage Versions of Shakespeare’s Plays

100%
Fabiszak J.
Text Matters: A Journal of Literature, Theory and Culture
|
2013
|
vol. 3
203-218
EN
The article attempts to address the issue of nudity and eroticism in stage and screen versions of Shakespeare’s plays. Elizabethan theatrical conventions and moral and political censorship of the English Renaissance did not allow for an explicit presentation of naked bodies and sexual interactions on stage; rather, these were relegated to the verbal plane, hence the bawdy language Shakespeare employed on many occasions. Conventions play a significant role also in the present-day, post-1960s and post-sexual revolution era, whereby human sexuality in Western culture is not just alluded to, but discussed and presented in an open manner. Consequently, nudity on stage and screen in versions of Shakespeare’s plays has become more marked and outspoken. Indeed, in both filmic and TV productions as well as stage performances directors and actors more and more willingly have exposed human body and sexuality to the viewer/spectator. My aim is to look at such instances from the perspective of realism and realistic conventions that the three media deploy and the effect nudity/sex can have on the recipient. The conclusion is that theatre is most conventional and stark realism and directness of the message need to be carefully dosed. Similarly to the theatre, television, more specifically television theatre, is, too, a most direct genre, as television is inherently a live medium, the broadcasts of which occur here and now, in the present tense (ideally). Film is markedly different from the two previous forms of art: it is narrated in the past tense, thus creating a distance between what is shown and the viewer, and allowing for more literalness. Naturally, particular cases discussed in the article go beyond these rather simple divisions.
2

Macbeth in (the Shade of) Iraq: Crossing the Borders of Poland, Nato and the Defensive War

100%
Fabiszak J.
Linguaculture
|
2010
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vol. 2010
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issue 2
83-90
EN
The numerous Polish productions of Macbeth in an overt or covert fashion address issues that have been at the core of political debate in the past decade, such as the state’s engagement in military missions that are in fact real wars. Furthermore, they also comment on the new Polish political system (is it still “new”?) and the situation of individuals in it, how they can profit in it. The paper discusses productions such as Andrzej Wajda’s (2004) from the Stary Theatre in Kraków, Maja Kleczewska’s (2004) from the Kochanowski Theatre in Opole, Grzegorz Jarzyna’s (2005; the full title is “2007: Macbeth”) from the Teatr Rozmaitości (TR) in Warsaw, and Piotr Kruszczyński’s (2005) from the Polski Theatre in Warsaw.
3
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Whose Authority May I Ask? Polish, English, German, Shakespearean or Directorial? On the Boundaries Between Ethnicity, Nationality, Religion and Theatricality in Jan Klata’s Shakespearean Productions

100%
Fabiszak J.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2018
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vol. 17
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issue 32
51-60
EN
Jan Klata is a director who has been labelled a provocateur and who is considered to hold nothing cultural or national sacred. From the beginning of his artistic career he is said to have challenged authorities: theatrical, ethnic, national, etc. by debunking and questioning prevailing heroic myths and forms. Today, imperceptibly yet steadily, Klata himself becomes an authority and his theatrical productions gradually become classics in the eyes of the new generations of theatre directors and audiences, at the same time inciting and inevitably inviting cultural rebellion ... The article examines Klata’s treatment of theatrical and national authority in his Shakespeare productions, on the one hand, and the image of the director as an authority on the other. All in the light of the theoretical model on authority in theatre, especially in Shakespeare productions, developed by W.B. Worthen.
4
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Kenneth Branagh’s Multicultural and Multi-ethnic Filmed Shakespeare(s)

100%
Fabiszak J.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2015
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vol. 12
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issue 27
75-86
5
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Theatre Reviews

51%
Georgopoulou X., Pilla E., Kizelbach U., Fabiszak J.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2015
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vol. 12
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issue 27
147-165
EN
Romeo and Juliet for Two. Dir. Kostas Gakis, Athina Moustaka, Konstantinos Bibis. 104 Theatre, Athens, Greece. Lady Macbeth. Dir. Marios Mettis. Theatro Thentro, Nicosia, Cyprus Hamlet. Dir. Jan Klata. Gdańsk Shakespeare Theatre, Gdańsk, Poland The Taming of the Shrew [Poskromienie złośnicy]. Dir. Katarzyna Deszcz. Stefan Żeromski Theatre, Kielce, Poland
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