{"title":"Shakespeare’s Accents: Voicing Identity in Performance by Sonia Massai (review)","authors":"Carla Della Gatta","doi":"10.1353/shb.2022.0047","DOIUrl":"https://doi.org/10.1353/shb.2022.0047","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127396276","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}
{"title":"Live at the Porpentine: A Comedy of Errors (review)","authors":"R. Kello","doi":"10.1353/shb.2022.0045","DOIUrl":"https://doi.org/10.1353/shb.2022.0045","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127797086","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:The metatheatricality of A Midsummer Night’s Dream has invited recent directors to tell particular kinds of socially progressive stories. This article uses the notion of social reparation to theorize remedial uses of Shakespeare in adaptations that give artists and audiences more moral agency. By imagining more inclusive local habitations for Dream, these socially progressive adaptations seek to remedy injustices in our times and the power asymmetries that inform Shakespeare’s play. My research indicates that place and social space feature prominently in reparative adaptations. To examine the significance of place in performances of Dream, this article analyzes the queer film Were the World Mine, the cross-cultural mime-dance production Dreamer, and the Royal Shakespeare Company’s pandemic-era, interactive, digital performance. All three adaptations draw on the dynamics of their newly created localities to perform various social or artistic mediations.
{"title":"Local Habitations of A Midsummer Night’s Dream","authors":"Alexa Alice Joubin","doi":"10.1353/shb.2022.0037","DOIUrl":"https://doi.org/10.1353/shb.2022.0037","url":null,"abstract":"Abstract:The metatheatricality of A Midsummer Night’s Dream has invited recent directors to tell particular kinds of socially progressive stories. This article uses the notion of social reparation to theorize remedial uses of Shakespeare in adaptations that give artists and audiences more moral agency. By imagining more inclusive local habitations for Dream, these socially progressive adaptations seek to remedy injustices in our times and the power asymmetries that inform Shakespeare’s play. My research indicates that place and social space feature prominently in reparative adaptations. To examine the significance of place in performances of Dream, this article analyzes the queer film Were the World Mine, the cross-cultural mime-dance production Dreamer, and the Royal Shakespeare Company’s pandemic-era, interactive, digital performance. All three adaptations draw on the dynamics of their newly created localities to perform various social or artistic mediations.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122646363","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}
{"title":"Much Ado About Nothing (review)","authors":"Michael W. Shurgot","doi":"10.1353/shb.2022.0046","DOIUrl":"https://doi.org/10.1353/shb.2022.0046","url":null,"abstract":"","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126461199","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:Cultural Anthropophagy, a pioneering concept developed in 1928 by the Brazilian Modernist poet and thinker Oswald de Andrade (1890–1954) in his Manifesto Antropófago, is a fundamental approach for understanding the aesthetic practices of Brazilian collaborative theater groups and their work on Shakespeare. The notion of anthropophagic appropriation is anchored on the idea of creative freedom, assimilating rather than rejecting foreign artistic legacies and mixing them with Brazilian culture—a process which allows the co-existence of self and other in a new interactive relationship. The theater group Nós do Morro [We from the Hillside], based at the Vidigal favela in Rio de Janeiro, approaches Shakespeare from an anthropophagic perspective, reimagining his plays through the lens of local and global traditions. The present essay addresses Nós do Morro’s first Shakespearean production, Sonho de uma noite de verão: uma intromissão do Nós do Morro no mundo de Shakespeare (2004), which highlighted the communal dimensions of the troupe’s theatrical activities, mainly issues of social transformation and ecological concerns. Nós do Morro’s Dream staged a metatheatrical invasion of the performance by proletarian waste collectors from the theatre company’s 2003 production, titled Burro sem rabo [Tail-less Donkey]. The waste collectors invaded the Centro Cultural Banco do Brasil, the elitist downtown theater where Dream was taking place, to kidnap the Shakespearean mechanicals and take on their roles themselves. This inventive device symbolically and literally constitutes an act of exchange and sharing, expressing their intent to approach Shakespeare according to their own aesthetic agenda.
摘要:文化食人论是巴西现代主义诗人、思想家奥斯瓦尔德·德·安德拉德(Oswald de Andrade, 1890-1954)于1928年在其《宣言》Antropófago中提出的一个开创性概念，是理解巴西合作戏剧团体美学实践及其莎士比亚作品的基本方法。拟人挪用的概念基于创作自由的理念，吸收而不是拒绝外国艺术遗产，并将它们与巴西文化融合在一起——这是一个允许自我和他人在一种新的互动关系中共存的过程。位于巴西里约热内卢维迪加贫民窟的戏剧团体Nós do Morro(我们来自山坡)，从食人的角度来看待莎士比亚，透过当地和全球传统的镜头重新构想他的戏剧。本论文论述Nós do Morro的第一部莎士比亚作品，Sonho de uma noite de vero: uma intromiss o do Nós do Morro no mundo de Shakespeare(2004)，它突出了剧团戏剧活动的公共维度，主要是社会转型和生态问题。Nós do Morro 's Dream上演了一场超戏剧的入侵表演，由剧院公司2003年的作品《无尾驴》(Burro sem rabo)中的无产者收集垃圾。垃圾收集者入侵了巴西文化银行中心(Centro Cultural Banco do Brasil)，这是位于市中心的精英剧院，《梦》就是在这里发生的，他们绑架了莎士比亚式的机械装置，并自己扮演了它们的角色。这种创造性的装置象征性地和字面上构成了一种交流和分享的行为，表达了他们根据自己的审美议程接近莎士比亚的意图。
{"title":"Appropriating Shakespeare in Brazil: Cultural Anthropophagy in Nós do Morro’s Dream","authors":"A. S. Camati","doi":"10.1353/shb.2022.0036","DOIUrl":"https://doi.org/10.1353/shb.2022.0036","url":null,"abstract":"Abstract:Cultural Anthropophagy, a pioneering concept developed in 1928 by the Brazilian Modernist poet and thinker Oswald de Andrade (1890–1954) in his Manifesto Antropófago, is a fundamental approach for understanding the aesthetic practices of Brazilian collaborative theater groups and their work on Shakespeare. The notion of anthropophagic appropriation is anchored on the idea of creative freedom, assimilating rather than rejecting foreign artistic legacies and mixing them with Brazilian culture—a process which allows the co-existence of self and other in a new interactive relationship. The theater group Nós do Morro [We from the Hillside], based at the Vidigal favela in Rio de Janeiro, approaches Shakespeare from an anthropophagic perspective, reimagining his plays through the lens of local and global traditions. The present essay addresses Nós do Morro’s first Shakespearean production, Sonho de uma noite de verão: uma intromissão do Nós do Morro no mundo de Shakespeare (2004), which highlighted the communal dimensions of the troupe’s theatrical activities, mainly issues of social transformation and ecological concerns. Nós do Morro’s Dream staged a metatheatrical invasion of the performance by proletarian waste collectors from the theatre company’s 2003 production, titled Burro sem rabo [Tail-less Donkey]. The waste collectors invaded the Centro Cultural Banco do Brasil, the elitist downtown theater where Dream was taking place, to kidnap the Shakespearean mechanicals and take on their roles themselves. This inventive device symbolically and literally constitutes an act of exchange and sharing, expressing their intent to approach Shakespeare according to their own aesthetic agenda.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132508838","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:Habib Tanvir (1923–2009) was a noted Indian playwright who combined different influences to create what Anjum Katyal has termed “inclusive theatre.” In 1993 he translated and directed a version of Shakespeare’s A Midsummer Night’s Dream entitled Kamdev Ka Apna Basant Ritu Ka Sapna [The Love God’s Own, A Springtime Dream]. This article demonstrates how the language and class-based hierarchies within postcolonial India play out in Kamdev, in which the fairies and the elite characters speak Hindi/Urdu/Hindustani, and the mechanicals speak the Chattisgarhi dialect. I interweave a close reading of Tanvir’s published translation and a video recording of a performance of the play, directed by Tanvir, which is archived in the MIT Global Shakespeares Archive. Since Tanvir both translated and directed the play, I read the archived performance and the published text as extensions of each other, and view them as existing in a “reciprocal relationship” with “the Shakespearean ‘work’” (Kidnie 5). This approach allows me to move beyond existing scholarship on Tanvir’s adaptation, which has considered his work only in tandem with other Indian productions, and focus instead on how Tanvir uses the specific affordances of Dream to challenge class- and language-based hierarchies. Ultimately, I show how Kamdev affords its actors, members of a subaltern community, the space to make Shakespeare, once a tool of colonization, a tool to resist neocolonial cultural and linguistic hegemonies.
{"title":"Realizing a Subaltern Dream: The Politics of Language and Translation in Habib Tanvir’s Kamdev Ka Apna Basant Ritu Ka Sapna","authors":"A. Rao","doi":"10.1353/shb.2022.0035","DOIUrl":"https://doi.org/10.1353/shb.2022.0035","url":null,"abstract":"Abstract:Habib Tanvir (1923–2009) was a noted Indian playwright who combined different influences to create what Anjum Katyal has termed “inclusive theatre.” In 1993 he translated and directed a version of Shakespeare’s A Midsummer Night’s Dream entitled Kamdev Ka Apna Basant Ritu Ka Sapna [The Love God’s Own, A Springtime Dream]. This article demonstrates how the language and class-based hierarchies within postcolonial India play out in Kamdev, in which the fairies and the elite characters speak Hindi/Urdu/Hindustani, and the mechanicals speak the Chattisgarhi dialect. I interweave a close reading of Tanvir’s published translation and a video recording of a performance of the play, directed by Tanvir, which is archived in the MIT Global Shakespeares Archive. Since Tanvir both translated and directed the play, I read the archived performance and the published text as extensions of each other, and view them as existing in a “reciprocal relationship” with “the Shakespearean ‘work’” (Kidnie 5). This approach allows me to move beyond existing scholarship on Tanvir’s adaptation, which has considered his work only in tandem with other Indian productions, and focus instead on how Tanvir uses the specific affordances of Dream to challenge class- and language-based hierarchies. Ultimately, I show how Kamdev affords its actors, members of a subaltern community, the space to make Shakespeare, once a tool of colonization, a tool to resist neocolonial cultural and linguistic hegemonies.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131358687","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:This article re-examines the scholarly assumption that the theater of early Soviet Russia saw A Midsummer Night’s Dream as an ideologically unobjectionable and unproblematic play. Tracing how Russian productions of Dream were reviewed from 1919 throughout the 1920s, the first section of this article examines comments on the play’s potential usefulness for building a proletarian theater and concerns about the interpretative challenges it posed. The second section moves to address the expectations for Shakespearean comedy as a genre in the 1930s, framed by Shakespeare’s new position as a cult writer within the cultural policy of socialist realism, and shows that Dream was interpreted as a humanist vision of an idyllic, egalitarian, and conflict-free future. Finally, the article analyzes the 1941 production at the Central Red Army Theater in Moscow, focusing on the director’s assistant’s rehearsal notes, which were eventually published as an essay. Both the initial notes and their final, published version reveal Soviet theater practitioners’ battle with the recalcitrant play-text as they attempted to force the play into alignment with its official interpretation. By charting how staging Dream challenged early Soviet Russia’s idealized vision of Shakespearean comedy and, by extension, of Shakespeare as a proto-socialist playwright, this article proposes that, when translated into performance, this comedy proved no less ideologically insidious and destabilizing than did Hamlet.
摘要:本文重新审视了学术上的假设，即苏联早期的戏剧将《仲夏夜之梦》视为意识形态上无可争议和毫无问题的戏剧。本文的第一部分追溯了从1919年到20世纪20年代俄罗斯的《梦》作品是如何被评论的，考察了对这部戏剧对建立无产阶级剧院的潜在用处的评论，以及对它所带来的解释挑战的关注。第二部分探讨了20世纪30年代莎士比亚喜剧作为一种类型的期望，在社会主义现实主义的文化政策下，莎士比亚作为一个cult作家的新地位，并表明《梦》被解释为一个田园诗般的、平等的、没有冲突的未来的人文主义愿景。最后，文章分析了1941年在莫斯科中央红军剧院(Central Red Army Theater)上演的这部剧目，重点是导演助理的排练笔记，这些笔记最终以论文的形式发表。最初的笔记和最终出版的版本都揭示了苏联戏剧从业者与顽固的剧本文本的斗争，因为他们试图迫使剧本与其官方解释保持一致。通过描绘《梦》的舞台如何挑战了早期苏联对莎士比亚喜剧的理想化看法，进而挑战了莎士比亚作为一个原始社会主义剧作家的看法，本文提出，当被转化为表演时，这部喜剧在意识形态上的阴险和不稳定不亚于《哈姆雷特》。
{"title":"“Cheerful, carefree, beautiful life”: The Trouble with Staging A Midsummer Night’s Dream in Early Soviet Theater","authors":"Natalia Khomenko","doi":"10.1353/shb.2022.0034","DOIUrl":"https://doi.org/10.1353/shb.2022.0034","url":null,"abstract":"Abstract:This article re-examines the scholarly assumption that the theater of early Soviet Russia saw A Midsummer Night’s Dream as an ideologically unobjectionable and unproblematic play. Tracing how Russian productions of Dream were reviewed from 1919 throughout the 1920s, the first section of this article examines comments on the play’s potential usefulness for building a proletarian theater and concerns about the interpretative challenges it posed. The second section moves to address the expectations for Shakespearean comedy as a genre in the 1930s, framed by Shakespeare’s new position as a cult writer within the cultural policy of socialist realism, and shows that Dream was interpreted as a humanist vision of an idyllic, egalitarian, and conflict-free future. Finally, the article analyzes the 1941 production at the Central Red Army Theater in Moscow, focusing on the director’s assistant’s rehearsal notes, which were eventually published as an essay. Both the initial notes and their final, published version reveal Soviet theater practitioners’ battle with the recalcitrant play-text as they attempted to force the play into alignment with its official interpretation. By charting how staging Dream challenged early Soviet Russia’s idealized vision of Shakespearean comedy and, by extension, of Shakespeare as a proto-socialist playwright, this article proposes that, when translated into performance, this comedy proved no less ideologically insidious and destabilizing than did Hamlet.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125912160","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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