Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910454
Reviewed by: Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye Maya Mathur Scripts of Blackness: Early Modern Performance Culture and the Making of Race. By Noémie Ndiaye. Philadelphia, PA: University of Pennsylvania Press, 2022. Pp. 376. Hardcover $64.95. Ebook $64.95. Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye is a groundbreaking investigation into three modes of racialization—cosmetic, acoustic, and kinetic—that were produced in the theaters of Spain, France, and England across two centuries. The book enriches existing studies of race and performance by departing from the conventional focus on a single nation and limited period and instead highlighting the correspondences between the racial paradigms produced in these countries. Ndiaye defines "scripts of blackness" as forms of racial impersonation that shaped "how Afro-diasporic characters looked, sounded, and moved in various performance settings" (16) and examines their impact on a range of performances, from religious processions and street dances to aristocratic ballets and court masques. These performances provide the backdrop for Ndiaye's analysis of representative plays that underline the relationship between theatrical techniques and cultural attitudes towards Blackness. While the book offers new readings of well-known dramatists including Shakespeare, Dryden, Lope de Vega, and Molière, among others, its strength lies in its ability to place these playwrights in conversation with lesser-known dramatists, performers, and performance techniques. Equally importantly, the book locates the titular "scripts of blackness" in the cities of Seville, Rouen, and London, all of which were centers of the transatlantic slave trade with significant Afro-diasporic populations. Focusing on these sites allows Ndiaye to demonstrate that racial scripts developed to counter the perceived threat of Afro-diasporic communities in Europe and non-white subjects in colonized nations. Investigating the sites of racecraft also reinforces Ndiaye's claim that premodern performance culture "did not passively reflect the intercolonial emergence of blackness as a racial category but actively fostered it" (10). At the same time, Ndiaye shows that racializing techniques were far from hegemonic by examining those instances when Afro-diasporic performers could assert their agency and challenge the dominant narrative. Ndiaye's comparative and transversal approach helps drive home the broader point that racial scripts [End Page 325] could be distinct to the places in which they were produced, part of a shared vocabulary that transcended national boundaries, and was wielded by both dominant and minoritized populations. The book makes a strong case for the exclusionary and commodifying nature of racial scripts in its opening chapter, which investigates "the prosthetic techniques of embodiment" (2), including masks and makeup that
{"title":"Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye (review)","authors":"","doi":"10.1353/shb.2023.a910454","DOIUrl":"https://doi.org/10.1353/shb.2023.a910454","url":null,"abstract":"Reviewed by: Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye Maya Mathur Scripts of Blackness: Early Modern Performance Culture and the Making of Race. By Noémie Ndiaye. Philadelphia, PA: University of Pennsylvania Press, 2022. Pp. 376. Hardcover $64.95. Ebook $64.95. Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye is a groundbreaking investigation into three modes of racialization—cosmetic, acoustic, and kinetic—that were produced in the theaters of Spain, France, and England across two centuries. The book enriches existing studies of race and performance by departing from the conventional focus on a single nation and limited period and instead highlighting the correspondences between the racial paradigms produced in these countries. Ndiaye defines \"scripts of blackness\" as forms of racial impersonation that shaped \"how Afro-diasporic characters looked, sounded, and moved in various performance settings\" (16) and examines their impact on a range of performances, from religious processions and street dances to aristocratic ballets and court masques. These performances provide the backdrop for Ndiaye's analysis of representative plays that underline the relationship between theatrical techniques and cultural attitudes towards Blackness. While the book offers new readings of well-known dramatists including Shakespeare, Dryden, Lope de Vega, and Molière, among others, its strength lies in its ability to place these playwrights in conversation with lesser-known dramatists, performers, and performance techniques. Equally importantly, the book locates the titular \"scripts of blackness\" in the cities of Seville, Rouen, and London, all of which were centers of the transatlantic slave trade with significant Afro-diasporic populations. Focusing on these sites allows Ndiaye to demonstrate that racial scripts developed to counter the perceived threat of Afro-diasporic communities in Europe and non-white subjects in colonized nations. Investigating the sites of racecraft also reinforces Ndiaye's claim that premodern performance culture \"did not passively reflect the intercolonial emergence of blackness as a racial category but actively fostered it\" (10). At the same time, Ndiaye shows that racializing techniques were far from hegemonic by examining those instances when Afro-diasporic performers could assert their agency and challenge the dominant narrative. Ndiaye's comparative and transversal approach helps drive home the broader point that racial scripts [End Page 325] could be distinct to the places in which they were produced, part of a shared vocabulary that transcended national boundaries, and was wielded by both dominant and minoritized populations. The book makes a strong case for the exclusionary and commodifying nature of racial scripts in its opening chapter, which investigates \"the prosthetic techniques of embodiment\" (2), including masks and makeup that ","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910449
{"title":"The Tempest by Round House Theatre (review)","authors":"","doi":"10.1353/shb.2023.a910449","DOIUrl":"https://doi.org/10.1353/shb.2023.a910449","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910452
{"title":"Richard III: Why I Did It by 26th İstanbul Theater Festival in collaboration with Tiyatro Gerçek at Alan Kadıköy (review)","authors":"","doi":"10.1353/shb.2023.a910452","DOIUrl":"https://doi.org/10.1353/shb.2023.a910452","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910450
Reviewed by: Twelfth Nightby Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre Barbara Ann Lukacs Twelfth NightPresented by the Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre, Drew University, Madison, NJ. 712 2022– 101 2023. Directed by Jason King Jones. Set design by Brittany Vasta. Costume design by Hugh Hanson. Lighting design by Andrew Hungerford. Sound design by Steven Beckel. Music composed by Cedric Lamar. Fight direction by Doug West. Stage management by Denise Cardarelli. Assistant stage management/Fight captain Isaac Hickox-Young. With Jeffrey Marc Alkins (Sebastian), Jon Barker (Duke Orsino), Jeffrey M. Bender (Sir Toby Belch), Jabari Carter (Curio/Officer 1), Robert Cuccioli (Malvolio), Dino Curia (Antonio), Jeffrey Dunston (Sea Captain/Priest), Tarah Flanagan (Maria), Cedric Lamar (Feste), Ty Lane (Fabian), Cameron Nalley (Valentine/Officer 2), Eliana Rowe (Viola), Patrick Toon (Sir Andrew Aguecheek), and Billie Wyatt (Olivia). [End Page 305] The Shakespeare Theatre of New Jersey concluded its 2022 offerings with a thoughtful and perfectly cast production of Twelfth Nightto celebrate the Christmas season. Director Jason King Jones's vision for what is one of Shakespeare's most popular comedies captured the spirit of the Twelfth Night revelry that traditionally marked the end of Christmastide. Notable were Jones's expanded treatment of Shakespeare's songs and his addition of two extra-textual actions with no dialogue, one that depicted Orsino's awakening to his amorous feelings toward Viola/Cesario, and one that added a bittersweet tone to the ending of the play. Jones enlisted Cedric Lamar (Feste) to compose accompaniments to the lyrics in the musical style of Shakespeare's day and to perform the songs while playing a baritone ukulele, accompanied on occasion by guitarist Dino Curia, who also played Antonio in this production. In some instances, songs that are musical fragments in the play-text were lengthened to full renditions through judicious editing. The set consisted of sand-colored walls covered with a star-like tessellation pattern. Three stars hung from above and a fourth star was fastened to a corner of one of the walls. The star motif was repeated in the shape of the candle holders carried by Olivia and Sir Toby Belch in their respective first appearances onstage. A centrally located open staircase with a large landing also featured prominently in the set. The staircase led up to an upper playing area that was surrounded by a low wall. Round-arched windows in the walls provided a means for some of the characters to observe and hear activities on the lower level while remaining concealed. Round-arched doorways at either end of the set provided for entries and exits. The back wall evoked a clear blue sky. On each side of the stage were three tall panels of sheer curtains that, with lighting variations, changed from white to pale pink. Three plain white stone backless benches
{"title":"Twelfth Night by Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre (review)","authors":"","doi":"10.1353/shb.2023.a910450","DOIUrl":"https://doi.org/10.1353/shb.2023.a910450","url":null,"abstract":"Reviewed by: Twelfth Nightby Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre Barbara Ann Lukacs Twelfth NightPresented by the Shakespeare Theatre of New Jersey at the F. M. Kirby Shakespeare Theatre, Drew University, Madison, NJ. 712 2022– 101 2023. Directed by Jason King Jones. Set design by Brittany Vasta. Costume design by Hugh Hanson. Lighting design by Andrew Hungerford. Sound design by Steven Beckel. Music composed by Cedric Lamar. Fight direction by Doug West. Stage management by Denise Cardarelli. Assistant stage management/Fight captain Isaac Hickox-Young. With Jeffrey Marc Alkins (Sebastian), Jon Barker (Duke Orsino), Jeffrey M. Bender (Sir Toby Belch), Jabari Carter (Curio/Officer 1), Robert Cuccioli (Malvolio), Dino Curia (Antonio), Jeffrey Dunston (Sea Captain/Priest), Tarah Flanagan (Maria), Cedric Lamar (Feste), Ty Lane (Fabian), Cameron Nalley (Valentine/Officer 2), Eliana Rowe (Viola), Patrick Toon (Sir Andrew Aguecheek), and Billie Wyatt (Olivia). [End Page 305] The Shakespeare Theatre of New Jersey concluded its 2022 offerings with a thoughtful and perfectly cast production of Twelfth Nightto celebrate the Christmas season. Director Jason King Jones's vision for what is one of Shakespeare's most popular comedies captured the spirit of the Twelfth Night revelry that traditionally marked the end of Christmastide. Notable were Jones's expanded treatment of Shakespeare's songs and his addition of two extra-textual actions with no dialogue, one that depicted Orsino's awakening to his amorous feelings toward Viola/Cesario, and one that added a bittersweet tone to the ending of the play. Jones enlisted Cedric Lamar (Feste) to compose accompaniments to the lyrics in the musical style of Shakespeare's day and to perform the songs while playing a baritone ukulele, accompanied on occasion by guitarist Dino Curia, who also played Antonio in this production. In some instances, songs that are musical fragments in the play-text were lengthened to full renditions through judicious editing. The set consisted of sand-colored walls covered with a star-like tessellation pattern. Three stars hung from above and a fourth star was fastened to a corner of one of the walls. The star motif was repeated in the shape of the candle holders carried by Olivia and Sir Toby Belch in their respective first appearances onstage. A centrally located open staircase with a large landing also featured prominently in the set. The staircase led up to an upper playing area that was surrounded by a low wall. Round-arched windows in the walls provided a means for some of the characters to observe and hear activities on the lower level while remaining concealed. Round-arched doorways at either end of the set provided for entries and exits. The back wall evoked a clear blue sky. On each side of the stage were three tall panels of sheer curtains that, with lighting variations, changed from white to pale pink. Three plain white stone backless benches ","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"257 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910456
Reviewed by: White People in Shakespeare: Essays on Race, Culture and the Elite ed. by Arthur L. Little, Jr. Virginia Mason Vaughan White People in Shakespeare: Essays on Race, Culture and the Elite. Edited by Arthur L. Little, Jr. London: Bloomsbury, 2023. Pp. xviii + 298. Hardcover $81.00. Paperback $26.95. E-book $21.56. Arthur L. Little, Jr.'s edited collection, White People in Shakespeare, is a thought-provoking introduction to the burgeoning new field of early modern critical white studies. Little brings together a diverse group of academics to interrogate the role that Shakespeare played and still plays in the development and continuation of white supremacy. In graduate school during the 1970s I can't recall anyone ever mentioning early modern race as a topic for discussion. Only later, after I began work on Othello's historical context by reading the work of pioneers in early modern race studies—Anthony Gerard Barthelemy, Joyce Green MacDonald, Margo Hendricks, Sujata Iyengar, Dennis Britton, Ian Smith, and Ayanna Thompson, just to name a few—did I think seriously about early modern constructions of race. But, as Little explains, late twentieth- and early twenty-first-century studies of early modern race were focused on Blackness, often with the assumption that it was only after England joined the slave trade that the English began to consider Black people a "race." Except for the prescient work of Kim F. Hall, Gary Taylor, and Peter Erickson, early modern scholars paid little attention to how white English people came to believe in their own superior identity. With this collection of essays—and other studies of early modern whiteness published this year by Farah Karim Cooper, Ian Smith, and Urvashi Chakravarty—Shakespeare's role in the early modern development of white supremacy can no longer be ignored. Little notes that the first recorded use of the term "white people" occurred in Thomas Middleton's mayoral pageant, The Triumphs of Truth (1613). Like other mayoral pageants, Middleton's drama was performed before all the people, whether they were aristocrats, tradespeople, or servants, in honor of London's newly installed mayor. In Middleton's pageant a Black king addresses the onlookers as "white people," suggesting whiteness as not simply a characteristic of the elite (e.g. Elizabeth I's famously whitened complexion) but inherent to the English masses. Like Middleton, Shakespeare wrote for a varied audience, and his representation of whiteness as a racial category has served to reinforce the idea of white—"fair"—superiority then and now. Consequently, Shakespeare "remains key to any study of the further emergence of a 'white people' in the late sixteenth and early seventeenth century" (7). Little divides the nineteen essays of his book into three groups. The first section, "Shakespeare's White People," interrogates the ways in which Shakespeare's plays and poems contribute to the construction of whiteness as a racial category. The sec
书评:《莎士比亚中的白人:种族、文化和精英随笔》，作者:小阿瑟·l·利特尔。弗吉尼亚·梅森·沃恩。Arthur L. Little编辑，伦敦:Bloomsbury出版社，2023年。第xviii + 298页。精装书81.00美元。平装书26.95美元。电子书21.56美元。小阿瑟·l·利特尔(Arthur L. Little, Jr.)的选集《莎士比亚中的白人》(White People in Shakespeare)是一本发人深省的书，介绍了新兴的早期现代批判性白人研究领域。利特尔汇集了一群不同的学者，来探讨莎士比亚在白人至上主义的发展和延续中所扮演的角色。在20世纪70年代的研究生院，我想不起来有谁把早期现代种族作为一个讨论的话题。直到后来，我开始研究《奥赛罗》的历史背景，阅读了早期现代种族研究先驱们的作品——安东尼·杰拉德·巴泰勒米、乔伊斯·格林·麦克唐纳、马戈·亨德里克斯、苏亚塔·艾杨格、丹尼斯·布里顿、伊恩·史密斯和阿雅娜·汤普森等，我才认真思考了早期现代种族的建构。但是，正如利特尔解释的那样，20世纪末和21世纪初对早期现代种族的研究主要集中在黑人身上，通常认为只有在英国加入奴隶贸易之后，英国人才开始把黑人视为一个“种族”。除了金·f·霍尔(Kim F. Hall)、加里·泰勒(Gary Taylor)和彼得·埃里克森(Peter Erickson)的先见之明之外，早期现代学者很少关注英国白人是如何开始相信自己的优越身份的。有了这本论文集，以及法拉·卡里姆·库珀、伊恩·史密斯和乌尔瓦什·查克拉瓦蒂今年发表的其他关于早期现代白人的研究，莎士比亚在早期现代白人至上主义发展中的作用再也不能被忽视了。利特尔指出，“白人”一词的首次使用记录出现在托马斯·米德尔顿的市长游行《真理的胜利》(1613年)中。和其他市长庆典一样，米德尔顿的戏剧在所有人面前表演，无论他们是贵族、商人还是仆人，都是为了向伦敦新上任的市长表示敬意。在米德尔顿的游行中，一位黑人国王称旁观者为“白人”，暗示白人不仅仅是精英阶层的特征(例如伊丽莎白一世著名的白皙肤色)，而是英国大众固有的特征。和米德尔顿一样，莎士比亚的写作对象也多种多样，他将白人作为一个种族类别的表现，在当时和现在都强化了白人“公平”优越的观念。因此，莎士比亚“仍然是研究16世纪末和17世纪初‘白人’进一步出现的关键”(7)。利特尔将他的书中的19篇文章分为三组。第一部分“莎士比亚的白人”(Shakespeare’s White People)探讨了莎士比亚的戏剧和诗歌是如何对白人作为一个种族类别的建构做出贡献的。第二部分“白人的莎士比亚”(White People’s Shakespeare)考察了从17世纪到现在，白人是如何利用莎士比亚的作品和他作为文化偶像的地位来强化白人的优越感的。第三部分，“白人莎士比亚和日常实践”，以两项反对白人特权的行动作为全书的结语。利特尔注意到，“‘公平’这个词在莎士比亚作品中出现了900多次，通常与女性的皮肤和美貌有关”(7)。因此，第一部分的四篇文章论述了莎士比亚对白人女性的表现，展示了性别和种族融合的方式。伊芙琳·加乔斯基借鉴了彼特拉克的爱情诗，在诗中，白皮肤、红脸颊和红唇与美德和美丽联系在一起，而黑皮肤则意味着丑陋和畸形(47)。这让她读到了伊丽莎白·卡里(Elizabeth Cary)的悲剧《玛丽亚姆》(Mariam)(出版于1613年)。在这部作品中，善良的女主人公玛丽亚姆是白人，而她阴险的敌人莎乐美是黑人。Gajowski总结道，在詹姆士王朝时期，女性悲剧女主角“被安排去做种族工作，也被安排去做性别工作”(59)。丹尼斯·奥斯丁·布里顿借鉴了中世纪的殉道学，强调了一个白皙的基督和一个因苦难而遍体鳞伤的殉道者。以牙还牙……
{"title":"White People in Shakespeare: Essays on Race, Culture and the Elite ed. by Arthur L. Little, Jr. (review)","authors":"","doi":"10.1353/shb.2023.a910456","DOIUrl":"https://doi.org/10.1353/shb.2023.a910456","url":null,"abstract":"Reviewed by: White People in Shakespeare: Essays on Race, Culture and the Elite ed. by Arthur L. Little, Jr. Virginia Mason Vaughan White People in Shakespeare: Essays on Race, Culture and the Elite. Edited by Arthur L. Little, Jr. London: Bloomsbury, 2023. Pp. xviii + 298. Hardcover $81.00. Paperback $26.95. E-book $21.56. Arthur L. Little, Jr.'s edited collection, White People in Shakespeare, is a thought-provoking introduction to the burgeoning new field of early modern critical white studies. Little brings together a diverse group of academics to interrogate the role that Shakespeare played and still plays in the development and continuation of white supremacy. In graduate school during the 1970s I can't recall anyone ever mentioning early modern race as a topic for discussion. Only later, after I began work on Othello's historical context by reading the work of pioneers in early modern race studies—Anthony Gerard Barthelemy, Joyce Green MacDonald, Margo Hendricks, Sujata Iyengar, Dennis Britton, Ian Smith, and Ayanna Thompson, just to name a few—did I think seriously about early modern constructions of race. But, as Little explains, late twentieth- and early twenty-first-century studies of early modern race were focused on Blackness, often with the assumption that it was only after England joined the slave trade that the English began to consider Black people a \"race.\" Except for the prescient work of Kim F. Hall, Gary Taylor, and Peter Erickson, early modern scholars paid little attention to how white English people came to believe in their own superior identity. With this collection of essays—and other studies of early modern whiteness published this year by Farah Karim Cooper, Ian Smith, and Urvashi Chakravarty—Shakespeare's role in the early modern development of white supremacy can no longer be ignored. Little notes that the first recorded use of the term \"white people\" occurred in Thomas Middleton's mayoral pageant, The Triumphs of Truth (1613). Like other mayoral pageants, Middleton's drama was performed before all the people, whether they were aristocrats, tradespeople, or servants, in honor of London's newly installed mayor. In Middleton's pageant a Black king addresses the onlookers as \"white people,\" suggesting whiteness as not simply a characteristic of the elite (e.g. Elizabeth I's famously whitened complexion) but inherent to the English masses. Like Middleton, Shakespeare wrote for a varied audience, and his representation of whiteness as a racial category has served to reinforce the idea of white—\"fair\"—superiority then and now. Consequently, Shakespeare \"remains key to any study of the further emergence of a 'white people' in the late sixteenth and early seventeenth century\" (7). Little divides the nineteen essays of his book into three groups. The first section, \"Shakespeare's White People,\" interrogates the ways in which Shakespeare's plays and poems contribute to the construction of whiteness as a racial category. The sec","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910455
Reviewed by: Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman Allison Machlis Meyer Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays. By L. Monique Pittman. New York: Routledge, 2022. Pp. 248. Hardback $170.00. In Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays, L. Monique Pittman provides a thoughtful and necessary examination of high-status British productions of Shakespearean history during the first decades of the twenty-first century. Pittman's six chapters carefully trace the ways these ostensibly progressive performances actually display a postimperial nostalgia that rejects Britain's multiculturalism in favor of a very narrow vision of both nationhood and Shakespeare. In a robust and compelling introduction, Pittman outlines the history plays' potential both to instantiate the exclusionary mechanisms of nationhood and to interrogate those mechanisms. Shakespeare's Contested Nations argues that modern productions have repeatedly failed to take up the history plays' textual invitations to query the violence and constructed nature of nation-building and have too often staged an "exclusionary national historiography" (26) instead. Pittman situates these performance choices in the context of growing nationalism marked by a set of political developments and cultural displays: a conservative backlash to the New Labour government's adoption of multiculturalism as a national policy, crystalized in media responses to the release of The Future of Multi-Ethnic Britain (2000); the nation-building of the Cultural Olympiad accompanying the UK's hosting of the 2012 Olympic Games; and the anti-immigrant narrative of the Brexit referendum (2016). Within this context of a Conservative-led government's rejection of multiculturalism and movement toward nativism, Pittman finds that "the cultural capital of Shakespeare operates in the third millennium to define, reinforce, and occasionally, facilitate critique of British nationhood" (10). In chapter two, "Staging the Multiethnic Nation: Boyd and Hytner at the Millennial Threshold," Pittman examines a set of six history play productions at the beginning of the new millennium—including Michael Boyd's Henry VI cycle (2000–2001) for the Royal Shakespeare Company and Nicholas Hytner's Henry [End Page 329] V (2003) for the National Theatre—that, she argues, "instantiate provocative experimentation with the rules of colorblind casting and visual codes of race" (39). Reading these productions alongside negative public response to The Future of Multi-Ethnic Britain's call for broadened artistic representation of British multicultural identities, Pittman asserts that this suite of plays prefigured a postimperial national nostalgia that emerged even more stridently in later productions. Pittman sees Boyd's and Hytner's
{"title":"Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman (review)","authors":"","doi":"10.1353/shb.2023.a910455","DOIUrl":"https://doi.org/10.1353/shb.2023.a910455","url":null,"abstract":"Reviewed by: Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays by L. Monique Pittman Allison Machlis Meyer Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays. By L. Monique Pittman. New York: Routledge, 2022. Pp. 248. Hardback $170.00. In Shakespeare's Contested Nations: Race, Gender, and Multicultural Britain in Performances of the History Plays, L. Monique Pittman provides a thoughtful and necessary examination of high-status British productions of Shakespearean history during the first decades of the twenty-first century. Pittman's six chapters carefully trace the ways these ostensibly progressive performances actually display a postimperial nostalgia that rejects Britain's multiculturalism in favor of a very narrow vision of both nationhood and Shakespeare. In a robust and compelling introduction, Pittman outlines the history plays' potential both to instantiate the exclusionary mechanisms of nationhood and to interrogate those mechanisms. Shakespeare's Contested Nations argues that modern productions have repeatedly failed to take up the history plays' textual invitations to query the violence and constructed nature of nation-building and have too often staged an \"exclusionary national historiography\" (26) instead. Pittman situates these performance choices in the context of growing nationalism marked by a set of political developments and cultural displays: a conservative backlash to the New Labour government's adoption of multiculturalism as a national policy, crystalized in media responses to the release of The Future of Multi-Ethnic Britain (2000); the nation-building of the Cultural Olympiad accompanying the UK's hosting of the 2012 Olympic Games; and the anti-immigrant narrative of the Brexit referendum (2016). Within this context of a Conservative-led government's rejection of multiculturalism and movement toward nativism, Pittman finds that \"the cultural capital of Shakespeare operates in the third millennium to define, reinforce, and occasionally, facilitate critique of British nationhood\" (10). In chapter two, \"Staging the Multiethnic Nation: Boyd and Hytner at the Millennial Threshold,\" Pittman examines a set of six history play productions at the beginning of the new millennium—including Michael Boyd's Henry VI cycle (2000–2001) for the Royal Shakespeare Company and Nicholas Hytner's Henry [End Page 329] V (2003) for the National Theatre—that, she argues, \"instantiate provocative experimentation with the rules of colorblind casting and visual codes of race\" (39). Reading these productions alongside negative public response to The Future of Multi-Ethnic Britain's call for broadened artistic representation of British multicultural identities, Pittman asserts that this suite of plays prefigured a postimperial national nostalgia that emerged even more stridently in later productions. Pittman sees Boyd's and Hytner's ","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910451
{"title":"The Winter's Tale by Shakespeare's Globe (review)","authors":"","doi":"10.1353/shb.2023.a910451","DOIUrl":"https://doi.org/10.1353/shb.2023.a910451","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910444
Reviewed by: Opheliaby Bread and Puppet Theater at Theater for the New City Geoffrey Lokke OpheliaPresented by Bread and Puppet Theater at Theater for the New City, New York, NY. 8–1812 2022. Directed by Peter Schumann. With Ziggy Bird, Teresa Camou, Adam Cook, Gideon Crevoshay, Maura Gahan, Alicia Gerstein, David Guzman, Peter Hamburger, May Hathaway, Ira Karp, Esteli Kitchen, Ariella Mandel, Idith Meshulam, Damian Norfleet, Raphael Royer, Elsa Saade, Maria Schumann, Dalila Trottola, and others. Bread and Puppet, a Vermont-based company that has been led by founder Peter Schumann since the early 1960s, has had a marked influence on contemporary puppetry in America and beyond. Schumann's many acolytes and collaborators include major puppetry-based artists such as Julie Taymor, Roman Paska, and Massimo Schuster; likewise, according to puppetry historian John Bell, a number of significant theater companies have been directly inspired by Schumann's giant puppetry, theatrical circus, stilt dancing, and/or community-based Leftist politics, including Amy Trompetter's Redwing Black Bird Theater, Chicago's Redmoon Theater, and Les Échassiers de Baie-Saint-Paul, which later became Cirque du Soleil. In recent years, Schumann's productions have ranged from didactic cabarets with skits focused on police brutality, reparations, industrial action, and Israeli apartheid, to more confounding and, in a sense, exegetically demanding adaptations of classical plays, including Aeschylus's The Persians, a work of lament staged directly following the death of Schumann's wife and collaborator, Elka. Bread and Puppet Theater's recent Hamletadaptation, entitled Ophelia, was also an elegiac piece, which, as my partner Lachlan Brooks noticed, set the last moments of its heroine's life to a sepulchral, choral arrangement of Gluck's aria "Che farò senza Euridice" from his 1762 opera Orfeo ed Euridice. Before the twentieth century, according to Ralph Berry, Shakespearean doubles were not considered to be "conceptual"; rather, the doubling of roles for a single actor was done simply out of necessity (due to limitations in the number of actors), or as a vehicle for a performer to demonstrate his or her virtuosity (204). Conceptual doubling, however, "brings a hidden relationship to light," in which the meaning of the production depends on viewers engaging this relationship (208). Radical or avant-garde doubling, then, requires viewers to make senseof the proposed relationship, and invites the audience to assess the legitimacyof the linkage. Moreover, experimental forms of doubling necessarily do something to Shakespeare's words and their perceived substance. Opheliawas perhaps more radical [End Page 281]than most, and its mesmerizing effects both transformed the genre of Hamlet's utterances from lyric to oracle, and frustrated viewers like myself as we self-consciously engaged the enmindment of doubled performers. The doubling at the heart of Opheliawas between the title charact
评论:奥菲利比面包和木偶剧院在剧院为新城杰弗里·洛克奥菲利面包和木偶剧院呈现在剧院为新城，纽约，纽约。8 - 1812 2022。彼得·舒曼导演。还有Ziggy Bird, Teresa Camou, Adam Cook, Gideon Crevoshay, Maura Gahan, Alicia Gerstein, David Guzman, Peter Hamburger, May Hathaway, Ira Karp, Esteli Kitchen, Ariella Mandel, Idith Meshulam, Damian Norfleet, Raphael Royer, Elsa Saade, Maria Schumann, Dalila Trottola等人。自20世纪60年代初以来，由创始人彼得·舒曼(Peter Schumann)领导的佛蒙特州面包与木偶公司(Bread and Puppet)对美国及其他地区的当代木偶戏产生了显著影响。舒曼的许多助手和合作者包括主要的木偶艺术家，如朱莉·泰莫、罗曼·帕斯卡和马西莫·舒斯特;同样，根据木偶戏历史学家约翰·贝尔的说法，许多重要的剧院公司都直接受到舒曼的大型木偶戏、戏剧马戏团、高脚舞和/或社区左翼政治的启发，包括艾米·特朗佩特的红翼黑鸟剧院、芝加哥的红月剧院和Les Échassiers de Baie-Saint-Paul，后来成为太阳马戏团。近年来，舒曼的作品范围广泛，从以警察暴行、赔偿、工业行动和以色列种族隔离为主题的说教式卡巴莱歌舞表演，到更令人困惑的，从某种意义上说，对古典戏剧的改编要求更高，包括埃斯库罗斯的《波斯人》，这是舒曼的妻子和合作者爱尔卡死后直接上演的悲叹作品。面包和木偶剧院(Bread and Puppet Theater)最近改编的《哈姆雷特》(hamlet)，名为《奥菲利亚》(Ophelia)，也是一部悲歌作品。正如我的搭档拉克兰·布鲁克斯(Lachlan Brooks)注意到的那样，剧中女主角生命的最后时刻，是以格拉克1762年的歌剧《奥菲奥与欧里狄斯》(Orfeo ed Euridice)中的咏叹调《Che farò senza Euridice》(Che farò senza Euridice)为背景的一段庄严的合唱。在二十世纪之前，根据拉尔夫·贝里的说法，莎士比亚的替身不被认为是“概念性的”;相反，一个演员的双重角色只是出于必要(由于演员数量的限制)，或者作为表演者展示他或她精湛技艺的工具(204)。然而，概念上的双重“揭示了一种隐藏的关系”，在这种关系中，作品的意义取决于观众参与这种关系(208)。因此，激进或前卫的双重要求观众理解所提议的关系，并邀请观众评估这种联系的合法性。此外，重复的实验形式必然会对莎士比亚的文字及其感知的实质产生影响。《奥菲利亚》也许比大多数戏剧更激进，它那令人着迷的效果既把哈姆雷特的话语类型从抒情变成了神谕，也让像我这样的观众感到沮丧，因为我们自觉地参与了双重表演者的诱惑。《奥菲利亚》的核心角色是主人公和哈姆雷特之间的替身。在整个演出过程中，舒曼的孙子、15岁的男孩艾拉·卡普(Ira Karp)都带着一张大牌子，上面手写着“奥菲利亚”。他朗诵的是哈姆雷特更为人所熟知的独白。卡普患有21型唐氏三体综合症，他没有说出莎士比亚戏剧中奥菲莉亚所说的任何一句话。奇怪的是，奥菲莉亚的演讲没有出现在舞台剧的其他地方，哈姆雷特的对话也没有直接针对她。(不过，格特鲁德关于奥菲莉亚去世的消息也被包括在内，并被卡普调换了位置。)《奥菲莉亚/哈姆雷特》最终由三个巨大的纸制 ch木偶加入舞台:其中两个似乎是死去的国王，他的头不断地掉下来，他的兄弟克劳迪斯赤身裸体地站在他身后。不久之后，另一个裸体的身影出现了，被严重烧焦或可能被泥土覆盖着，上面潦草地写着哈姆雷特的独白“啊，这太脏了的肉体”，从它的身上倾泻而下。每当卡普说出哈姆雷特的话时，亚当·库克总是陪伴着他，他会补充和修改卡普偶尔的停顿、遗漏和含糊不清的话。后来，库克拿出一根木制的教师教鞭，慢慢地把单词原子化在被弄脏的皮肉上，通过费力地记录每一个词素和音节，抹去了抑扬格的五音步，最重要的是，抹去了文本的实质。据公司的一些人说……
{"title":"Ophelia by Bread and Puppet Theater at Theater for the New City (review)","authors":"","doi":"10.1353/shb.2023.a910444","DOIUrl":"https://doi.org/10.1353/shb.2023.a910444","url":null,"abstract":"Reviewed by: Opheliaby Bread and Puppet Theater at Theater for the New City Geoffrey Lokke OpheliaPresented by Bread and Puppet Theater at Theater for the New City, New York, NY. 8–1812 2022. Directed by Peter Schumann. With Ziggy Bird, Teresa Camou, Adam Cook, Gideon Crevoshay, Maura Gahan, Alicia Gerstein, David Guzman, Peter Hamburger, May Hathaway, Ira Karp, Esteli Kitchen, Ariella Mandel, Idith Meshulam, Damian Norfleet, Raphael Royer, Elsa Saade, Maria Schumann, Dalila Trottola, and others. Bread and Puppet, a Vermont-based company that has been led by founder Peter Schumann since the early 1960s, has had a marked influence on contemporary puppetry in America and beyond. Schumann's many acolytes and collaborators include major puppetry-based artists such as Julie Taymor, Roman Paska, and Massimo Schuster; likewise, according to puppetry historian John Bell, a number of significant theater companies have been directly inspired by Schumann's giant puppetry, theatrical circus, stilt dancing, and/or community-based Leftist politics, including Amy Trompetter's Redwing Black Bird Theater, Chicago's Redmoon Theater, and Les Échassiers de Baie-Saint-Paul, which later became Cirque du Soleil. In recent years, Schumann's productions have ranged from didactic cabarets with skits focused on police brutality, reparations, industrial action, and Israeli apartheid, to more confounding and, in a sense, exegetically demanding adaptations of classical plays, including Aeschylus's The Persians, a work of lament staged directly following the death of Schumann's wife and collaborator, Elka. Bread and Puppet Theater's recent Hamletadaptation, entitled Ophelia, was also an elegiac piece, which, as my partner Lachlan Brooks noticed, set the last moments of its heroine's life to a sepulchral, choral arrangement of Gluck's aria \"Che farò senza Euridice\" from his 1762 opera Orfeo ed Euridice. Before the twentieth century, according to Ralph Berry, Shakespearean doubles were not considered to be \"conceptual\"; rather, the doubling of roles for a single actor was done simply out of necessity (due to limitations in the number of actors), or as a vehicle for a performer to demonstrate his or her virtuosity (204). Conceptual doubling, however, \"brings a hidden relationship to light,\" in which the meaning of the production depends on viewers engaging this relationship (208). Radical or avant-garde doubling, then, requires viewers to make senseof the proposed relationship, and invites the audience to assess the legitimacyof the linkage. Moreover, experimental forms of doubling necessarily do something to Shakespeare's words and their perceived substance. Opheliawas perhaps more radical [End Page 281]than most, and its mesmerizing effects both transformed the genre of Hamlet's utterances from lyric to oracle, and frustrated viewers like myself as we self-consciously engaged the enmindment of doubled performers. The doubling at the heart of Opheliawas between the title charact","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"338 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/shb.2023.a910448
Reviewed by: Rosalineby 20th Century Studios and 21 Laps Entertainment Austen Bell RosalineProduced by 20th Century Studios and 21 Laps Entertainment, streaming on Hulu from 1410 2022. Directed by Karen Maine. Written by Scott Neustadter and Michael H. Weber. Cinematography by Laurie Rose. Production design by Andrew McAlpine. Costume design by Mitchell Travers. With Kaitlyn Dever (Rosaline), Isabela Merced (Juliet), Sean Teale (Dario Penza), Kyle Allen (Romeo), Spencer Stevenson (Paris), Bradley Whitford (Adrian Capulet), Minnie Driver (Nurse Janet), and others. Shakespeare's plays abound in anachronism. Julius Caesarhas its striking clock, Falstaff sings his broadside ballads, and some purported ancient Greeks and Romans are quite Christian in their theology. Karen Maine's 2022 romantic comedy Rosaline, the story of "Romeo's ex," commits to this extremely Shakespearean tradition. Kaitlyn Dever's Rosaline in particular almost seems to be looking through time; with the assumptions, goals, and expectations of a twenty-first century romantic comedy heroine, she sees the Italian Renaissance aesthetic around her as restrictive and foolish. When this juxtaposition functions to connecthistory and modernity, it is playful and engaging. Too often, however, it's difficult to justify Rosaline's light-hearted chronological snobbery; the film sets up the cynical, postmodernist romantic comedy as the solution to the problems of an overly-emotional Elizabethan tragedy, yet fails to deal with what is problematic within the romcom genre. Rosalinefollows the titular Rosaline, a Capulet and an aspiring cartographer, through the end of her relationship with Romeo Montague (Kyle Allen). Her friends Paris (Spencer Stevenson) and Nurse Janet (Minnie Driver) suspect that she is only interested in Romeo because of the danger, but she never seriously doubts her commitment until the first time Romeo tells her he loves her, when she freezes. He takes her silence as rejection, heads off to the Capulet ball, meets Rosaline's cousin Juliet (Isabela Merced), and promptly falls in love. When Rosaline sees him climbing Juliet's balcony just the way he climbed hers—even echoing some of his poetic words—she decides to win him back by befriending [End Page 297]Juliet and exposing Romeo's fickleness (though without revealing herself as the former object of his affections). But Rosaline's plan has three complications: firstly, her genuine growing attachment to Juliet; secondly, the presence of inconveniently attractive young soldier Dario Penza (Sean Teale); and thirdly, the plot of Romeo and Julietoccurring in the background. Rosaline's primary relationship to its source material is one of setup and subversion. In the opening scene Romeo, clinging to the balcony railing and gazing into the distance, rhapsodizes, "I never saw true beauty till this night. …" Rosaline, trying to follow his gaze with her eyes, responds, "Why are you talking like that?" This comment is enough to move the
{"title":"Rosaline by 20th Century Studios and 21 Laps Entertainment (review)","authors":"","doi":"10.1353/shb.2023.a910448","DOIUrl":"https://doi.org/10.1353/shb.2023.a910448","url":null,"abstract":"Reviewed by: Rosalineby 20th Century Studios and 21 Laps Entertainment Austen Bell RosalineProduced by 20th Century Studios and 21 Laps Entertainment, streaming on Hulu from 1410 2022. Directed by Karen Maine. Written by Scott Neustadter and Michael H. Weber. Cinematography by Laurie Rose. Production design by Andrew McAlpine. Costume design by Mitchell Travers. With Kaitlyn Dever (Rosaline), Isabela Merced (Juliet), Sean Teale (Dario Penza), Kyle Allen (Romeo), Spencer Stevenson (Paris), Bradley Whitford (Adrian Capulet), Minnie Driver (Nurse Janet), and others. Shakespeare's plays abound in anachronism. Julius Caesarhas its striking clock, Falstaff sings his broadside ballads, and some purported ancient Greeks and Romans are quite Christian in their theology. Karen Maine's 2022 romantic comedy Rosaline, the story of \"Romeo's ex,\" commits to this extremely Shakespearean tradition. Kaitlyn Dever's Rosaline in particular almost seems to be looking through time; with the assumptions, goals, and expectations of a twenty-first century romantic comedy heroine, she sees the Italian Renaissance aesthetic around her as restrictive and foolish. When this juxtaposition functions to connecthistory and modernity, it is playful and engaging. Too often, however, it's difficult to justify Rosaline's light-hearted chronological snobbery; the film sets up the cynical, postmodernist romantic comedy as the solution to the problems of an overly-emotional Elizabethan tragedy, yet fails to deal with what is problematic within the romcom genre. Rosalinefollows the titular Rosaline, a Capulet and an aspiring cartographer, through the end of her relationship with Romeo Montague (Kyle Allen). Her friends Paris (Spencer Stevenson) and Nurse Janet (Minnie Driver) suspect that she is only interested in Romeo because of the danger, but she never seriously doubts her commitment until the first time Romeo tells her he loves her, when she freezes. He takes her silence as rejection, heads off to the Capulet ball, meets Rosaline's cousin Juliet (Isabela Merced), and promptly falls in love. When Rosaline sees him climbing Juliet's balcony just the way he climbed hers—even echoing some of his poetic words—she decides to win him back by befriending [End Page 297]Juliet and exposing Romeo's fickleness (though without revealing herself as the former object of his affections). But Rosaline's plan has three complications: firstly, her genuine growing attachment to Juliet; secondly, the presence of inconveniently attractive young soldier Dario Penza (Sean Teale); and thirdly, the plot of Romeo and Julietoccurring in the background. Rosaline's primary relationship to its source material is one of setup and subversion. In the opening scene Romeo, clinging to the balcony railing and gazing into the distance, rhapsodizes, \"I never saw true beauty till this night. …\" Rosaline, trying to follow his gaze with her eyes, responds, \"Why are you talking like that?\" This comment is enough to move the","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"257 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135194917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Midsummer Night’s Dream Presented by Folger Theatre in association with the National Building Museum and the University of South Carolina, Washington, DC. 12 July–28 August 2022. Directed by Victor Malana Maog. Production design by Tony Cisek. Festival stage design by Jim Hunter. Costume design by Olivera Gajic. Lighting design by Yael Lubetzky. Original music and sound design by Matthew M. Neilson. Choreography by Alexandra Beller. Fight choreography by Cliff Williams III. With Rotimi Agbabiaka (Theseus/Oberon), Bryan Barbarin (Demetrius), Renea S. Brown (Helena), Danaya Esperanza (Egeus/Puck), John Floyd (Flute), Brit Herring (Snout), Lilli Hokama (Hermia), Hunter Ringsmith (Lysander), Jacob Ming-Trent (Bottom), Nubia M. Monks (Hippolyta/Titania), Shinji Elspeth Oh (Philostrate), John-Alexander Sakelos (Peter Quince), Sabrina Lynne Sawyer (Snug), and Kathryn Zoerb (Starveling).
《仲夏夜之梦》由福尔杰剧院与美国国家建筑博物馆和华盛顿特区南卡罗来纳大学联合演出。2022年7月12日至8月28日。导演:Victor Malana Maog。制作设计:Tony Cisek。节日舞台设计由吉姆·亨特。服装设计:Olivera Gajic。灯光设计:Yael Lubetzky。原创音乐和声音设计由马修·m·尼尔森。Alexandra Beller编舞。克里夫·威廉姆斯(Cliff Williams III)编舞。Rotimi Agbabiaka(忒修斯/奥伯龙)，Bryan Barbarin(德米特里厄斯)，Renea S. Brown(海伦娜)，Danaya Esperanza (Egeus/Puck)， John Floyd (Flute)， Brit Herring (Snout)， Lilli Hokama (Hermia)， Hunter Ringsmith (Lysander)， Jacob mingtrent (Bottom)， Nubia M. Monks (Hippolyta/Titania)， Shinji Elspeth Oh (Philostrate)， John- alexander Sakelos (Peter Quince)， Sabrina Lynne Sawyer (Snug)和Kathryn Zoerb (Starveling)。
{"title":"A Midsummer Night’s Dream (review)","authors":"M. Collins","doi":"10.1353/shb.2022.0052","DOIUrl":"https://doi.org/10.1353/shb.2022.0052","url":null,"abstract":"A Midsummer Night’s Dream Presented by Folger Theatre in association with the National Building Museum and the University of South Carolina, Washington, DC. 12 July–28 August 2022. Directed by Victor Malana Maog. Production design by Tony Cisek. Festival stage design by Jim Hunter. Costume design by Olivera Gajic. Lighting design by Yael Lubetzky. Original music and sound design by Matthew M. Neilson. Choreography by Alexandra Beller. Fight choreography by Cliff Williams III. With Rotimi Agbabiaka (Theseus/Oberon), Bryan Barbarin (Demetrius), Renea S. Brown (Helena), Danaya Esperanza (Egeus/Puck), John Floyd (Flute), Brit Herring (Snout), Lilli Hokama (Hermia), Hunter Ringsmith (Lysander), Jacob Ming-Trent (Bottom), Nubia M. Monks (Hippolyta/Titania), Shinji Elspeth Oh (Philostrate), John-Alexander Sakelos (Peter Quince), Sabrina Lynne Sawyer (Snug), and Kathryn Zoerb (Starveling).","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128726419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：