Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.26
Katrine K. Wong
Shakespeare and his works began making their way to Asia through diplomatic and missionary channels some two centuries after the Bard’s death. Through translations and adaptations, Asian countries began to learn about his works and what they represent (culture, lifestyle, ideology), and such activities soon began to interact with local cultures and practices of musical performances: Chinese operatic Shakespeare, Japanese Nō Shakespeare, Korean shamanistic Shakespeare, to name but a few. With a focus on Shakespeare in China, this chapter begins with a summary of the history of Chinese perceptions, responses, and (re)creations of Shakespeare. The introductory overview serves as a socio-historical context for a discussion of mass-market musical responses to Shakespeare and his works in contemporary China. The author investigates how popular musical forms and modes, in particular Mandopop and Cantopop, have embraced and given new shape and voice to Shakespearean works.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.35
Michael Graham
This chapter explores the presentation of gender and sexuality in Gustav Holst’s At the Boar’s Head (1925), a one-act ‘musical interlude’ based on the Eastcheap tavern scenes from Shakespeare’s Henry IV. Holst’s third opera was received initially as an ingenious but ultimately trivial exercise in combining Shakespearean material with traditional English folk music. More recently, however, it has been interpreted as a work which encapsulates the profound sense of nostalgia and trauma present in British society during the post–Great War period. This chapter argues further that At the Boar’s Head’s liminal, microcosmic tavern space reveals the disruptions and reactive consolidations of gender identity and sexual expression that occurred during the First World War. Through the contrasting figures of its central ‘couple’, Prince Hal and Falstaff, the work especially scrutinizes the capacity of war to alter male personality and desire, the pressure placed on men to conform to a ubiquitous image of heroic, heterosexual masculinity, and the complex, conflicting reactions of soldiers at their moment of recruitment. Paying particular attention to Hal’s two intensely introspective arias, ‘I know you all …’ and ‘Devouring Time’, the chapter dissects the young prince’s protean journey to attaining the paradigmatic manliness of his later incarnation, Henry V, who was celebrated as the inspirational embodiment of British, martial male identity during the war years.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.36
A. Simonis
This chapter examines how modern composers have developed a new approach to Shakespeare’s The Tempest by adopting creative approaches decidedly different from romantic interpretations or bel canto opera. Most twentieth-century musicalizations of the play—which is characterized by multidimensional, meta-poetical, and psychological intensity—present an experimental view of its structural potential and an intense exploration of the psychological dimensions of the personae. At the beginning of the twentieth century, a romantic opera by Nicholas Gatty (1920) still corresponds to nineteenth-century tastes. In contrast, Sibelius’s suite Stormen (1926) clearly reflects a modernist design, with harps and percussion representing the ambivalent character of Prospero, while the impressive chorus of winds and the intermittent sounds depicting Ariel underline the experimental and avant-garde nature of the composition. Since the second half of the century, composers’ efforts in adapting Shakespeare’s late comedy in stage music and opera have culminated in a series of notable works: Frank Martin’s Der Sturm (1956), Michael Tippett’s The Knot Garden (1971), Luciano Berio’s Un Re in Ascolto (1984), John Eaton’s The Tempest (1985), and Thomas Adès’s The Tempest (2004). This chapter compares these different operatic adaptations according to their poetical and musical devices, designs, and overall perspectives. What these very different compositions have in common is the fact that they no longer intend to provide musical settings for a Shakespearean play. Instead, they create their own works of art which (even in the wording of their libretti) are but loosely connected to the original version of their source.
本章探讨了现代作曲家如何通过采用与浪漫主义诠释或美声唱法截然不同的创造性方法来开发莎士比亚的《暴风雨》的新方法。大多数二十世纪的音乐剧都以多维度、元诗意和心理强度为特征，呈现出对其结构潜力的实验观点和对人物心理维度的深入探索。20世纪初，尼古拉斯·加蒂(1920)的一部浪漫主义歌剧仍然符合19世纪的口味。相比之下，西贝柳斯的组曲《风暴》(1926)明显反映了现代主义的设计，竖琴和打击乐代表了普洛斯彼罗的矛盾性格，而令人印象深刻的风的合唱和间歇性的声音描绘了阿里尔，强调了作曲的实验性和先锋性。自20世纪下半叶以来，作曲家们将莎士比亚晚期喜剧改编为舞台音乐和歌剧的努力达到了高潮，创作了一系列著名的作品:弗兰克·马丁的《暴风雨》(1956年)，迈克尔·蒂皮特的《结园》(1971年)，卢西亚诺·贝里奥的《阿斯科尔托的Un Re in Ascolto》(1984年)，约翰·伊顿的《暴风雨》(1985年)和托马斯·阿德里安斯的《暴风雨》(2004年)。本章根据这些不同的歌剧改编的诗歌和音乐手段、设计和整体观点进行比较。这些截然不同的作品有一个共同点，那就是它们不再打算为莎士比亚的戏剧提供音乐背景。相反，他们创造了自己的艺术作品，这些作品(甚至在他们的手稿的措辞中)只是松散地与他们的原始版本联系在一起。
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.27
P. Drábek
From the late seventeenth century (Purcell’s The Fairy-Queen, 1692), Shakespeare’s plays have entered the realm of music theatre and opera, inspiring both composers and their librettists. Operas on Shakespearean themes have played a seminal role in the repertoire and continue to do so—just as Shakespeare’s own plays have done in the spoken theatre. This chapter analyses examples of libretti that adapt and translate Shakespeare’s plays into the operatic genre. Special attention is paid to dramatic situations, character construction, performative poetry and the role of music—the very making of musical theatre (or the melodramatic arts) that librettists and composers undertake in developing the potential and inspiration from Shakespeare. Rather than being exhaustive and extensive in mapping the wide field of Shakespearean opera, this chapter offers a detailed analysis of different types of dramaturgy and libretto, relating them to the cultural moments in which the works were created and revived, forming musical variants of the Shakespearean canon. The case studies of the libretti’s melodramatic imagination are Henry Purcell’s The Fairy-Queen (1692), Jiří Antonín Benda and Friedrich Wilhelm Gotter’s Romeo und Julie (1779), Antonio Salieri and Carlo Prospero Defranceschi’s Falstaff, o le tre burle (1799), Carl Maria von Weber and James Robinson Planché’s Oberon, or The Elf King’s Oath (1826), and Thomas Adès and Meredith Oakes’ The Tempest (2004).
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.44
J. Cunningham
This chapter analyses the main collections centred on Shakespearean music published in the nineteenth century with a view to determining the underlying cultural processes that led to their creation. Largely through the frequent revivals of the plays, by the early nineteenth century there developed a significant number of settings of the songs, several of which had held the stage since the early eighteenth century. William Linley was first to anthologize the plays’ songs, thus presenting them as a coherent body deserving of prominence in the cultural imagination. By the end of the century, the repertoire had become vast enough to warrant catalogues of musical references and musical settings. The central argument offered is that this emergence of ‘Shakespearean song’ as a sub-plot within bardolatory was an expression of cultural nationalism, in which the idea of Shakespeare as inherently musical dramatist filled the cultural void created by the perceived failure of English music.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.42
Jeanne Butler
This chapter explores the role of music as a tool both to interpret Shakespeare for a modern young audience and to balance the conflicting demands and mythic tensions generated by creating a Hollywood version of Romeo and Juliet in Baz Luhrmann’s William Shakespeare’s Romeo + Juliet (1996). Although much of the focus on this film has been on the inclusion of pop music, the film soundtrack consists of a varied mixture of pre-existing and commissioned orchestral music and popular songs, crossing a wide range of genres and mixed in innovative ways; the big hits, when they came, mostly occurred after the film was released. The chapter analyses how Luhrmann and his team attempt to ‘translate’ the text through the use of music, arguing that Luhrmann uses familiar musical structures and rhythms to support the language and drama of the play for an audience new to the language of Shakespeare, while also drawing on the cultural connotations and flexibility of the musical score to interpret the text and play with the possibility of a Hollywood-style happy ending.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.9
H. Wilde
Ever since George Harrison’s remark that Bob Dylan ‘makes Shakespeare look like Billy Joel’, comparisons between Dylan and Shakespeare have been something of a cliché. On the one hand, there is a substantial list of Shakespearean echoes in Dylan’s lyrics; on the other, to the rock critics and Dylan hagiographers of the 1960s, Shakespeare’s name was a shorthand for ‘canonic’, ‘authentic’, ‘transcendent’. Arguably, the idea of the rock auteur was born around 1965—the point when Dylan renounced his ‘folk’ status and executed a decisive stylistic swerve, not only by ‘going electric’, but by littering his work with cryptic allusions, direct Shakespeare references, and a list of theatrical characters. Later, in the Chronicles (2003), there seems to be a swerve in the opposite direction, when Dylan reclaims his ‘folk’ status, and reassumes the mantle of folksinger, folklorist, and musicologist. These tensions between ‘high’ and ‘low’ art (and the secondary axis of ‘folk’ and ‘anti-folk’) have characterized much of the academic and non-academic literature. This chapter will explore some of the intersections between Shakespeare scholarship and the work of rock auteurs from Dylan onwards. In particular, it will focus on the theme of melancholy, as personified by Jaques in As You Like It who, as an anxiety-ridden character prone to rhetorical flourishes and self-pity, is a recognizable trope in much of the post-Dylan singer-songwriter repertoire, and consider Ophelia as a similarly rich seam in pop songwriting.
自从乔治·哈里森说鲍勃·迪伦“让莎士比亚看起来像比利·乔尔”之后，比较迪伦和莎士比亚就成了老生常谈了。一方面，迪伦的歌词中有大量莎士比亚的影子;另一方面，对于20世纪60年代的摇滚评论家和迪伦圣徒传记作者来说，莎士比亚的名字是“经典的”、“真实的”、“卓越的”的缩写。可以说，摇滚导演的概念是在1965年左右诞生的，那时迪伦放弃了他的“民谣”身份，在风格上进行了决定性的转变，不仅是“电玩化”，而且在他的作品中到处都是隐晦的暗示，直接引用莎士比亚，以及一系列戏剧人物。后来，在《编年史》(2003)中，迪伦似乎转向了相反的方向，他重新确立了自己的“民间”地位，重新披上了民间歌手、民俗学家和音乐学家的外衣。这些“高级”和“低级”艺术之间的紧张关系(以及“民间”和“反民间”的第二轴)已经成为许多学术和非学术文学的特征。本章将探讨莎士比亚研究与迪伦以后的摇滚导演作品之间的一些交叉点。特别地，它将聚焦于忧郁的主题，就像《皆大皆非》(as You Like it)中的雅克(Jaques)所体现的那样，作为一个焦虑不安的角色，他倾向于华丽的修辞和自怜，这在迪伦之后的许多创作型歌手中都是一个可识别的比喻，并将奥菲利亚视为流行歌曲创作中同样丰富的一个部分。
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.12
Ross W. Duffin
Thomas Morley’s possible association with, and contribution to, the Shakespeare theatre has been proposed and dismissed with equal weight by a host of scholars over many years. This chapter re-examines what we know, offers solutions to major problems, and concludes that it is probably time to put the controversy to bed once and for all. The songs of Robert Johnson have long been admired by those interested in early seventeenth-century English theatre. Songs by or attributed to him survive for plays by Shakespeare, Ben Jonson, John Webster, Thomas Middleton, Francis Beaumont, and John Fletcher, and many of them are exquisite. Is it possible, however, that our eagerness to have the original songs to the plays has led us to presume that any musical setting that survives in a seventeenth-century source was used in the relevant play’s first production? This chapter re-examines what we know of Johnson’s career and of the surviving sources for his play songs, explores the limits of what we can safely claim about his settings and, in some cases, proposes alternative original settings to the lyrics.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.21
Julian Rushton
Berlioz’s obsession—it was hardly less—with Shakespeare set in when he witnessed performances of Hamlet and Romeo and Juliet, in English (a language he scarcely knew), at the Odéon theatre, Paris, in 1827. His feelings were complicated by his falling in love with Ophelia/Juliet, in the person of Harriet Smithson, whom he later married. His habit of citing lines, in the original, was life-long; he used Shakespeare for epigraphs to his scenes from Goethe’s Faust (1829) and other works, and often quoted him in his journalism and other writings. He was perhaps more cautious about exposing his feelings in music; his first Shakespeare-inspired composition is not from the tragedies he had witnessed, but is a fantasy-overture inspired by The Tempest (1830). The next year he composed an overture King Lear; he had, however, only read, and not seen, both plays. In 1839, however, Berlioz composed a large-scale concert work (‘dramatic symphony’) Roméo et Juliette, and in the 1840s he composed music connected to Hamlet. Writing the libretto for his great opera Les Troyens, he called it ‘Virgil Shakespeareanized’, and his swan-song was an opéra comique, Béatrice et Bénédict (1862–1863), based on Much Ado About Nothing. It is sometimes argued that he ‘misunderstood’ Shakespeare; more constructively, it will be suggested that he read Shakespeare to serve his own creative objectives.
1827年，柏辽兹在巴黎的odimadon剧院观看了用英语(他几乎不懂的语言)演出的《哈姆雷特》和《罗密欧与朱丽叶》，从此他对莎士比亚的迷恋就开始了。他爱上了奥菲利亚/朱丽叶，后来娶了哈丽特·史密森，这使他的感情变得复杂起来。他引用诗句的习惯，原来是终生的;他在歌德的《浮士德》(1829)和其他作品中使用莎士比亚作为题词，并经常在他的新闻和其他作品中引用他的话。他也许对在音乐中表露自己的感情更为谨慎;他的第一篇受莎士比亚启发的作品并非来自他亲眼目睹的悲剧，而是受《暴风雨》(1830年)启发创作的幻想序曲。第二年，他创作了《李尔王》的序曲;然而，他只读过两出戏，没有看过。然而，1839年，柏辽兹创作了一部大型音乐会作品(“戏剧交响曲”)《romsamo et Juliette》，并在19世纪40年代创作了与《哈姆雷特》有关的音乐。他在为自己的伟大歌剧《特洛伊》写剧本时，称其为“维吉尔·莎士比亚式的”，而他的谢幕之歌则是一部基于《无事自成》(Much Ado About Nothing, 1862-1863)的歌剧《bsamatrice et bsamnsamdict》。有时人们认为他“误解”了莎士比亚;更有建设性的是，有人会建议他读莎士比亚是为了满足自己的创作目标。
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.37
Benedict P. B. Francis
This chapter will look at how some plays of Shakespeare have been adapted as Broadway musicals, and how, in turn, the Broadway musical has influenced some productions of Shakespeare. In The Boys from Syracuse (1938) and Kiss Me, Kate (1948) Shakespeare is both treated as a showbiz personality and revered, albeit humorously, as a divine figure who brings healing to the characters. In West Side Story (1957) Shakespeare is not mentioned by name, but the memory of Romeo and Juliet hangs over the show, providing an ironic contrast with the world of gang-divided New York where there is no authority figure to impose order. In the seventies the Broadway show becomes an object of nostalgia. Kenneth Branagh’s film version of Love’s Labours Lost (2000) used songs popularized by Fred Astaire to provide a thoroughly familiar context in which to understand the play. The musical has appropriated Shakespeare’s plays, and in doing so, has given the audience a potential new set of aesthetic rules by which they can appreciate the plays themselves.
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