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Rewriting Shakespeare’s Plays For and By the Contemporary Stage
Why have contemporary playwrights been obsessed by Shakespeare’s plays to such an extent that most of the canon has been rewritten by one rising dramatist or another over the last half century? Among other key figures, Edward Bond, Heiner Müller, Carmelo Bene, Arnold Wesker, Tom Stoppard, Howard Barker, Botho Strauss, Tim Crouch, Bernard Marie Koltès, and Normand Chaurette have all put their radical originality into the service of adapting four-century-old classics. The resulting works provide food for thought on issues such as Shakespearean role-playing, narrative and structural re-shuffling. Across the world, new writers have questioned the political implications and cultural stakes of...
Shakespeare in Performance
The fourteen essays included in this collection offer a range of contributions from both new and well-established scholars to the topic of Shakespeare and performance. From traditional studies of theatrical history and adaptation to explorations of Shakespeareâ (TM)s plays in the circus, musical extravaganzas, the cinema, and drama at large, the collection embraces a number of performance spaces, times, and media. Shakespeare in Performance includes essays looking not only at sixteenth- and seventeenth-century stagings of the plays in England, but at productions of Shakespeare across time in the United States, France, Italy, Hungary, and Africa, underscoring the multiple embodiments and voi...
Shakespeare in Performance
The fourteen essays included in this collection offer a range of contributions from both new and well-established scholars to the topic of Shakespeare and performance. From traditional studies of theatrical history and adaptation to explorations of Shakespeare’s plays in the circus, musical extravaganzas, the cinema, and drama at large, the collection embraces a number of performance spaces, times, and media. Shakespeare in Performance includes essays looking not only at sixteenth- and seventeenth-century stagings of the plays in England, but at productions of Shakespeare across time in the United States, France, Italy, Hungary, and Africa, underscoring the multiple embodiments and voices ...
Communication, Translation, and Community in the Middle Ages and Early Modern Period
Die neue englischsprachige Reihe zur Mediävistik strebt eine methodisch reflektierte, anspruchsvolle Verbindung von Text- und Kulturwissenschaft an. Sie widmet sich den kulturellen Grundthemen der mittelalterlichen Welt aus der Perspektive der Literatur- und Geschichtswissenschaft. ‚Grundthemen' sind die kulturprägenden Denkbilder, Weltanschauungen, Sozialstrukturen und Alltagsbedingungen des mittelalterlichen Lebens, also z. B. Kindheit und Alter, Sexualität, Religion, Medizin, Rituale, Arbeit, Armut und Reichtum, Aberglauben, Erde und Kosmos, Stadt und Land, Krieg, Emotionen, Kommunikation, Reisen usw. Die Reihe greift wichtige aktuelle Fachdiskussionen auf und stellt ein Forum der in...
Shakespeare and Virtue
This volume maps Shakespearean virtue in all its plasticity and variety, providing thirty-eight succinct, wide-ranging essays that reveal a breadth and diversity exceeding any given morality or code of behaviour. Clearly explaining key concepts in the history of ethics and in classical, theological, and global virtue traditions, the collection reveals their presence in the works of Shakespeare in interpersonal, civic, and ecological scenes of action. Paying close attention to individual identity and social environment, chapters also consider how the virtuous horizons broached in Shakespearean drama have been tested anew by the plays' global travels and fresh encounters with different traditions. Including sections on global wisdom, performance and pedagogy, this handbook affirms virtue as a resource for humanistic education and the building of human capacity.
Shakespeare on Screen: King Lear
An up-to-date survey of Shakespeare's King Lear on screen and the aesthetic, social and political issues raised by screen versions.
Shakespeare and Cultural Appropriation
Shakespeare and Cultural Appropriation pushes back against two intertwined binaries: the idea that appropriation can only be either theft or gift, and the idea that cultural appropriation should be narrowly defined as an appropriative contest between a hegemonic and marginalized power. In doing so, the contributions to the collection provide tools for thinking about appropriation and cultural appropriation as spectrums constantly evolving and renegotiating between the poles of exploitation and appreciation. This collection argues that the concept of cultural appropriation is one of the most undertheorized yet evocative frameworks for Shakespeare appropriation studies to address the relations...
L'espace scénographique dans les mises en scène des pièces de William Shakespeare au vingtième siècle
L'exploration des scénographies anglaises et françaises réalisées pour l'oeuvre de Shakespeare incite à réfléchir sur la façon de traduire l'essence de ces pièces sur la scène. Cette étude se penche sur le travail réalisé par des hommes de théâtre de la fin du XXe siècle et sur les thématiques mises en valeur dans les espaces scénographiés par Peter Brook, le théâtre de la Cartoucherie, etc.
Shakespeare dans la maison de Molière
Depuis le début du XXe siècle, s'ajoutent régulièrement aux registres de la Comédie-Française les pièces de la Renaissance anglaise. Hamlet, Macbeth, Roméo et Juliette, Coriolan, La Nuit des Rois, Le Marchand de Venise, La Tempête, La Mégère Apprivoisée et bien d'autres pièces écrites par le dramaturge élisabéthain y ont vu ou revu le jour ces dernières décennies. Dans cette maison de tradition et de savoir-faire « à la française », quel regard nous est offert sur le répertoire shakespearien ? Comment s'imprime le sceau de cette institution sur des œuvres retraduites pour l'occasion et adaptées à la scène à l'italienne ? Les grands noms de la scène se sont succé...
The Duchess of Malfi
This collection of essays represents new scholarly work on John Webster’s great tragedy, The Duchess of Malfi. The critical methodologies range from historical contexts to feminist readings of agency and identity, to social analyses of Jacobean culture. The play has rightly taken its place as one of the greatest of the early modern period, and the Duchess is now seen as one of the great tragic figures of the time—and along with Shakespeare’s Cleopatra, one of the most powerful representations of a strong female character in control of her own sexuality and her own destiny. The play also offers an unusual range of villainous characters, from the Duchess’s two brothers—the Machiavellian Cardinal and the deranged Ferdinand—to Bosola, who at first seems to be a conventional Vice-like villain. Bosola commits terrible acts in the play, and though he ultimately surrenders to his conscience and tries to do good, this transformation comes too late, and the final set of murders takes place in darkness—an apt symbol of the play’s disturbing moral universe.
