Pub Date : 2023-03-01DOI: 10.1353/shb.2023.a907994
Peter Kirwan
Abstract: This afterword responds to the contents of this special issue by returning to Jan Kott’s Szkice o Szekspirze and exploring the fuzzy language around contemporaneity, resonance, and relevance. Contemporaneity in theatrical productions often manifests in either very vague or very specific terms, and often serves a predominantly aesthetic function. Taking the cue of Shakespeare’s time-skipping later plays Pericles and The Winter’s Tale —both of which resist a straightforward depiction of a “now”—and focusing on Cheek by Jowl’s 2018–19 Périclès, Prince de Tyr , this afterword draws together the arguments made throughout this special issue to propose a model of contemporaneity as experiential immediacy, which aligns with recent attempts to understand contemporaneity at the point of reception.
摘要:本文的后记回应了本期特刊的内容，回到简·科特的《Szkice o Szekspirze》，探讨了围绕当代性、共鸣和相关性的模糊语言。戏剧作品中的当代性通常以非常模糊或非常具体的术语表现出来，并且通常具有主要的审美功能。以莎士比亚后来跳过时间的戏剧《伯里克利》和《冬天的故事》为线索——这两部剧都拒绝直接描述“现在”——并以《Cheek by Jowl》2018-19年的《pricl》《Prince de Tyr》为重点，这篇后记汇集了本期特稿中提出的论点，提出了一种作为经验即时性的当代性模型，这与最近试图从接受的角度理解当代性是一致的。
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Having chosen to shorten it significantly, the production had no choice but to stay for the most part on the literal level of the play, telling the story straightforwardly, emphasizing physical comedy, cutting lines that might point towards the deeper (and darker) significance of the action. It never, for example, left itself enough time (either through the words or the action) to articulate and make felt the implications of the dancing lovers or, more importantly, of the shift in lines between Oberon and Titania. As the reversal of the opening scenes suggested and his flamboyant acting made clear, Bottom and his mates were meant to be the stars of the show. All in all the production did what it apparently set out to do and offered a concise, accessible, and visually attractive articulation of the play, designed to entertain both adults and children.
{"title":"Henry V (review)","authors":"Justin B. Hopkins","doi":"10.1353/shb.2022.0053","DOIUrl":"https://doi.org/10.1353/shb.2022.0053","url":null,"abstract":"Having chosen to shorten it significantly, the production had no choice but to stay for the most part on the literal level of the play, telling the story straightforwardly, emphasizing physical comedy, cutting lines that might point towards the deeper (and darker) significance of the action. It never, for example, left itself enough time (either through the words or the action) to articulate and make felt the implications of the dancing lovers or, more importantly, of the shift in lines between Oberon and Titania. As the reversal of the opening scenes suggested and his flamboyant acting made clear, Bottom and his mates were meant to be the stars of the show. All in all the production did what it apparently set out to do and offered a concise, accessible, and visually attractive articulation of the play, designed to entertain both adults and children.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"1681 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120942208","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}
Abstract:Shortly after the murder of George Floyd on 25 May 2020, there was a great outpouring of claims to anti-racist solidarity, including from a great many in the American theater establishment. But what would that look like, in action? The “We See You White American Theatre” manifesto lays down a wide-ranging action plan of “transformative practices” aimed at changing our current theater-making ecology. In this interview, the writer and actor Keith Hamilton Cobb lays down some ideas for transformative Shakespearean theatrical practices. Cobb draws on his long career in theater, film, and television, as well as his experience as author and performer of American Moor, and gestures towards some radical rethinking of rehearsal processes and priorities currently being put to the test in his Untitled Othello Project. Cobb’s insights offer numerous ways to challenge the overwhelming whiteness of the American theater-making status quo.
摘要:2020年5月25日，乔治·弗洛伊德(George Floyd)被谋杀后不久，包括美国戏剧界的许多人在内，人们纷纷呼吁团结起来，反对种族主义。但在实际操作中会是什么样子呢?“我们看到你，白人美国剧院”宣言提出了一项广泛的“变革实践”行动计划，旨在改变我们目前的戏剧制作生态。在这次采访中，作家兼演员基思·汉密尔顿·科布(Keith Hamilton Cobb)为变革莎士比亚戏剧实践提出了一些想法。柯布借鉴了他在戏剧、电影和电视领域的长期职业生涯，以及他作为《美洲荒原》的作者和表演者的经历，并在他的《无题奥赛罗计划》中对排练过程和优先事项进行了一些激进的重新思考。柯布的见解为挑战美国戏剧制作中白人占绝对优势的现状提供了许多方法。
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Abstract:As TikTok continues to cement itself as the most popular social media platform in the world, the nuanced ways in which Shakespeare nerds use the platform to display their digital fandom remain understudied. This essay addresses how Shakespeare TikTokers (“ShakesTokers”) use the platform to create a queer utopia, and specifically how this utopia manifests in the usage of Twelfth Night as a queer touchstone. In this piece, we consider ShakesTokers’ readings of the text as a fluid space of gender and identity in order to show how the dramaturgy of Twelfth Night aligns with Gen Z politics and aesthetics which inform TikTok’s culture at large. We look at ShakesTok readings of Twelfth Night’s characters, how these readings manifest a queer utopia, how they approach the trope of cross-dressing, and how mini performances of and inspired by Twelfth Night saturate themselves in queer readings of this text and its characters. We argue that Twelfth Night marks the epicenter of TikTok’s critical Shakesqueer. This critical lens allows TikTok users opportunities to engage with the text of Shakespeare’s plays on their own terms, and to extend ownership of the text into spaces that are familiar to them. In so doing, they enact a well-worn paradigm of Shakespearean textual analysis in fresh ways, enabled by the digital tools at their disposal. By closely examining Twelfth Night TikTok, this article sheds new light on the little acknowledged role that Shakespeare plays in forming mainstream TikTok culture, which may be key to developing a new generation of Shakespearean audiences.
{"title":"“Everyone in illyria is bi you absolute cowards”: Shakespeare TikTok, Twelfth Night, and the Search for a Queer Utopia","authors":"Trevor Boffone, Danielle Rosvally","doi":"10.1353/shb.2022.0048","DOIUrl":"https://doi.org/10.1353/shb.2022.0048","url":null,"abstract":"Abstract:As TikTok continues to cement itself as the most popular social media platform in the world, the nuanced ways in which Shakespeare nerds use the platform to display their digital fandom remain understudied. This essay addresses how Shakespeare TikTokers (“ShakesTokers”) use the platform to create a queer utopia, and specifically how this utopia manifests in the usage of Twelfth Night as a queer touchstone. In this piece, we consider ShakesTokers’ readings of the text as a fluid space of gender and identity in order to show how the dramaturgy of Twelfth Night aligns with Gen Z politics and aesthetics which inform TikTok’s culture at large. We look at ShakesTok readings of Twelfth Night’s characters, how these readings manifest a queer utopia, how they approach the trope of cross-dressing, and how mini performances of and inspired by Twelfth Night saturate themselves in queer readings of this text and its characters. We argue that Twelfth Night marks the epicenter of TikTok’s critical Shakesqueer. This critical lens allows TikTok users opportunities to engage with the text of Shakespeare’s plays on their own terms, and to extend ownership of the text into spaces that are familiar to them. In so doing, they enact a well-worn paradigm of Shakespearean textual analysis in fresh ways, enabled by the digital tools at their disposal. By closely examining Twelfth Night TikTok, this article sheds new light on the little acknowledged role that Shakespeare plays in forming mainstream TikTok culture, which may be key to developing a new generation of Shakespearean audiences.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"15 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127651560","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}
Much Ado Produced by Shakespeare Sisters. Premiere 1 April 2022, London Independent Film Festival. Produced, directed, and written for screen by AnnaElizabeth Shakespeare and Hillary Shakespeare. Cinematography by Tom van den Broek. Music by Simon Porter. With Emma Beth Jones (Beatrice), Luke Hunter (Claudio), Johnny Lucas (Benedick), Jody Larcombe (Hero), James McClelland (Pedro), Toby Wynn Davies (Antonio), Peter Saracen (Leonato), Jack Boal ( John), Tani Toluwa (Ursula), Anya Rivers (Margaret), Harish Goutan (Friar Francis), Joseph Emms (Balthasar), and others.
莎士比亚姐妹制作的《多烦恼》。2022年4月1日，伦敦独立电影节首映。由安娜·伊丽莎白·莎士比亚和希拉里·莎士比亚制作、导演和编剧。摄影:Tom van den Broek音乐:西蒙·波特。艾玛·贝丝·琼斯(比阿特丽斯)、卢克·亨特(克劳迪奥)、约翰尼·卢卡斯(本尼迪克)、乔迪·拉库姆(英雄)、詹姆斯·麦克利兰(佩德罗)、托比·韦恩·戴维斯(安东尼奥)、彼得·撒拉森(莱昂纳托)、杰克·鲍尔(约翰)、塔尼·托卢瓦(乌苏拉)、安雅·里弗斯(玛格丽特)、哈里什·古坦(弗朗西斯修士)、约瑟夫·埃姆斯(巴尔萨萨)等人。
{"title":"Much Ado (review)","authors":"Josepha Kuhn","doi":"10.1353/shb.2022.0057","DOIUrl":"https://doi.org/10.1353/shb.2022.0057","url":null,"abstract":"Much Ado Produced by Shakespeare Sisters. Premiere 1 April 2022, London Independent Film Festival. Produced, directed, and written for screen by AnnaElizabeth Shakespeare and Hillary Shakespeare. Cinematography by Tom van den Broek. Music by Simon Porter. With Emma Beth Jones (Beatrice), Luke Hunter (Claudio), Johnny Lucas (Benedick), Jody Larcombe (Hero), James McClelland (Pedro), Toby Wynn Davies (Antonio), Peter Saracen (Leonato), Jack Boal ( John), Tani Toluwa (Ursula), Anya Rivers (Margaret), Harish Goutan (Friar Francis), Joseph Emms (Balthasar), and others.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132352965","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}
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