Pub Date : 2019-12-01DOI: 10.18778/2083-8530.20.05
Monica Matei-Chesnoiu
Abstract This essay looks at the 2001 Romanian production of Hamlet directed by Vlad Mugur at the Cluj National Theatre (Romania) from the perspective of geocriticism and spatial literary studies, analysing the stage space opened in front of the audiences. While the bare stage suggests asceticism and alienation, the production distances the twenty-first century audiences from what might have seemed difficult to understand from their postmodern perspectives. The production abbreviates the topic to its bare essence, just as a map condenses space, in the form of “literary cartography” (Tally 20). There is no room in this production for baroque ornaments and theatrical flourishing; instead, the production explores the exposed depth of human existence. The production is an exploration of theatre and art, of what dramatists and directors can do with artful language, of the theatre as an exploration of human experience and potential. It is about the human condition and the artist’s place in the world, about old and new, about life and death, while everything happens on the edge of nothingness. The director’s own death before the opening night of the production ties Shakespeare’s Hamlet with existential issues in an even deeper way than the play itself allows us to expose.
{"title":"Hamlet, or about Death: A Romanian Hamlet directed by Vlad Mugur (2001)","authors":"Monica Matei-Chesnoiu","doi":"10.18778/2083-8530.20.05","DOIUrl":"https://doi.org/10.18778/2083-8530.20.05","url":null,"abstract":"Abstract This essay looks at the 2001 Romanian production of Hamlet directed by Vlad Mugur at the Cluj National Theatre (Romania) from the perspective of geocriticism and spatial literary studies, analysing the stage space opened in front of the audiences. While the bare stage suggests asceticism and alienation, the production distances the twenty-first century audiences from what might have seemed difficult to understand from their postmodern perspectives. The production abbreviates the topic to its bare essence, just as a map condenses space, in the form of “literary cartography” (Tally 20). There is no room in this production for baroque ornaments and theatrical flourishing; instead, the production explores the exposed depth of human existence. The production is an exploration of theatre and art, of what dramatists and directors can do with artful language, of the theatre as an exploration of human experience and potential. It is about the human condition and the artist’s place in the world, about old and new, about life and death, while everything happens on the edge of nothingness. The director’s own death before the opening night of the production ties Shakespeare’s Hamlet with existential issues in an even deeper way than the play itself allows us to expose.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"51 - 60"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49284431","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 : 2019-12-01DOI: 10.18778/2083-8530.20.06
Renfang Tang
Abstract This article examines two huaju performances of Shakespeare—The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity of Shakespearean texts, but more critically, illustrate how Shakespeare and intercultural discourses are internalized and reconfigured by the nation and culture that consume and re-produce them. Chinese adaptations of Coriolanus and King Lear demonstrate how (intercultural) identity is constructed through the subjectivity and iconicity of Shakespeare’s characters and the performativity of Shakespeare’s texts.
{"title":"East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares","authors":"Renfang Tang","doi":"10.18778/2083-8530.20.06","DOIUrl":"https://doi.org/10.18778/2083-8530.20.06","url":null,"abstract":"Abstract This article examines two huaju performances of Shakespeare—The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity of Shakespearean texts, but more critically, illustrate how Shakespeare and intercultural discourses are internalized and reconfigured by the nation and culture that consume and re-produce them. Chinese adaptations of Coriolanus and King Lear demonstrate how (intercultural) identity is constructed through the subjectivity and iconicity of Shakespeare’s characters and the performativity of Shakespeare’s texts.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"61 - 81"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42218306","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 : 2019-12-01DOI: 10.18778/2083-8530.20.03
Irena R. Makaryk, Ann Hemingway
Abstract The digital environment in which the humanities are now firmly immersed has opened the door to innovative ways for students to interact with traditional formats such as archival and print material, and to develop a deep and personal understanding of topics and issues. Libraries, museums and archives are in the unique position of facilitating the creation of digital initiatives in the classroom by offering up their collections as “learning laboratories,” and by sharing their expertise in technology, information, and digital literacy as well as data management. Through active collaboration with course instructors, they can build bridges between their collections and the digital skills students need in order to embrace the new learning paradigm and to help lead them into the future. This paper outlines an archival-digital pilot launched in 2015 at the University of Ottawa, Canada. It situates the project in its historical context; details its early and subsequent iterations; and surveys the assumptions, challenges, surprises, and pleasures of introducing students to archival sources and to acquiring digital skills.
{"title":"The Archive and the Digital Age: Field Notes from the Pedagogical Front","authors":"Irena R. Makaryk, Ann Hemingway","doi":"10.18778/2083-8530.20.03","DOIUrl":"https://doi.org/10.18778/2083-8530.20.03","url":null,"abstract":"Abstract The digital environment in which the humanities are now firmly immersed has opened the door to innovative ways for students to interact with traditional formats such as archival and print material, and to develop a deep and personal understanding of topics and issues. Libraries, museums and archives are in the unique position of facilitating the creation of digital initiatives in the classroom by offering up their collections as “learning laboratories,” and by sharing their expertise in technology, information, and digital literacy as well as data management. Through active collaboration with course instructors, they can build bridges between their collections and the digital skills students need in order to embrace the new learning paradigm and to help lead them into the future. This paper outlines an archival-digital pilot launched in 2015 at the University of Ottawa, Canada. It situates the project in its historical context; details its early and subsequent iterations; and surveys the assumptions, challenges, surprises, and pleasures of introducing students to archival sources and to acquiring digital skills.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"20 1","pages":"23 - 36"},"PeriodicalIF":0.2,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42770801","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 : 2019-08-01DOI: 10.18778/2083-8530.19.01
Nicole Fayard
Abstract Recent Shakespearean productions, just like current European crises, have highlighted the exclusionary nature of European identity. In defining the scope of this special issue, the aim of this introduction is to shift the study of Shakespeare in/and Europe away from the ideological field of “unity within diversity” and its attendant politics of negotiation and mediation. Instead, it investigates whether re-situating Shakespearean analysis within regimes of exclusionary politics and group conflict attitudes helps to generate dynamic cultural and social understandings. To what effect is Shakespeare’s work invoked in relation with the tensions inherent in European societies? Can such invocations encourage reflections on Europe as a social, political and/or cultural entity? Is it possible to conceptualize Shakespearean drama as offering an effective instrument that connects―or not―the voices of the people of Europe?
{"title":"Introduction: Shakespeare and/in Europe: Connecting Voices","authors":"Nicole Fayard","doi":"10.18778/2083-8530.19.01","DOIUrl":"https://doi.org/10.18778/2083-8530.19.01","url":null,"abstract":"Abstract Recent Shakespearean productions, just like current European crises, have highlighted the exclusionary nature of European identity. In defining the scope of this special issue, the aim of this introduction is to shift the study of Shakespeare in/and Europe away from the ideological field of “unity within diversity” and its attendant politics of negotiation and mediation. Instead, it investigates whether re-situating Shakespearean analysis within regimes of exclusionary politics and group conflict attitudes helps to generate dynamic cultural and social understandings. To what effect is Shakespeare’s work invoked in relation with the tensions inherent in European societies? Can such invocations encourage reflections on Europe as a social, political and/or cultural entity? Is it possible to conceptualize Shakespearean drama as offering an effective instrument that connects―or not―the voices of the people of Europe?","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"30 - 9"},"PeriodicalIF":0.2,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46028911","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 : 2019-08-01DOI: 10.18778/2083-8530.19.08
Nicole Fayard
Abstract In this interview acclaimed director Declan Donnellan, co-founder of the company Cheek by Jowl, discusses his experience of performing Shakespeare in Europe and the attendant themes of cultural difference, language and translation. Donnellan evokes his company’s commitment to connecting with audiences globally. He keeps returning to Shakespeare, as his theatre enables the sharing of our common humanity. It allows a flesh-and-blood carnal interchange between the actors and the audience which directly affects individuals. This interchange has significant consequences in terms of translation and direction.
摘要在本次采访中，备受赞誉的导演、Cheek by Jowl公司的联合创始人Declan Donnellan讨论了他在欧洲表演莎士比亚的经历，以及随之而来的文化差异、语言和翻译主题。Donnellan唤起了他的公司与全球观众建立联系的承诺。他不断回归莎士比亚，因为他的戏剧能够分享我们共同的人性。它允许演员和观众之间有血有肉的肉欲交流，这直接影响到个人。这种交流在翻译和指导方面具有重大影响。
{"title":"“Making Things Look Disconcertingly Different”: In Conversation with Declan Donnellan","authors":"Nicole Fayard","doi":"10.18778/2083-8530.19.08","DOIUrl":"https://doi.org/10.18778/2083-8530.19.08","url":null,"abstract":"Abstract In this interview acclaimed director Declan Donnellan, co-founder of the company Cheek by Jowl, discusses his experience of performing Shakespeare in Europe and the attendant themes of cultural difference, language and translation. Donnellan evokes his company’s commitment to connecting with audiences globally. He keeps returning to Shakespeare, as his theatre enables the sharing of our common humanity. It allows a flesh-and-blood carnal interchange between the actors and the audience which directly affects individuals. This interchange has significant consequences in terms of translation and direction.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"139 - 159"},"PeriodicalIF":0.2,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47607787","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 : 2019-06-30DOI: 10.18778/2083-8530.19.05
Keith Gregor
Abstract Taking as its cue the 2016 quatercentenaries of the deaths of both Shakespeare and Cervantes, the essay offers some insights into the “transversal connections” between both events as celebrated in Spain and the UK. The questions it raises and attempts to resolve are fourfold: (1) What are the reasons and also the benefits of yoking together two such apparently disparate authors, whose strongest link is, arguably, the fact they both passed away in 1616? (2) What work is being done to restore these writers to life, especially in schools where, for a variety of reasons, literature has lost its core-curricular status, and in general society where the classics seem to have less and less import? (3) What might Shakespeare or Cervantes be said to stand for in their respective cultures, both in terms of the genres they wrote in (it is often forgotten, for instance, that Cervantes was also a poet and a dramatist) and the extra-literary values they are said to transmit? (4) What is the role of the State in the safeguarding and promotion of the nation’s cultural heritage?
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Pub Date : 2019-06-30DOI: 10.18778/2083-8530.19.07
Stephen O'Neill
Abstract This article considers how Shakespeare’s King Lear has become a Brexit play across a range of discourses and media, from theatre productions and journalism to social media. With its themes of division and disbursement, of cliff edges and tragic self-immolation, Lear is the Shakespearean play that has been turned to as metaphor and analogy for the UK’s decision following the 23 June 2016 referendum to leave the European Union. Reading this presentist application of Shakespeare, the article attends to Shakespeare as itself a discourse through which cultural ideas, both real and imaginary, about Brexit and the EU are negotiated. It asks how can we might remap Lear in this present context―what other meanings and histories are to be derived from the play, especially in Lear’s exile and search for refuge, or in Cordelia’s departure for and return from France? Moving from a consideration of a Brexit Lear to an archipelagic and even European Lear, this article argues that Shakespeare is simultaneously a site of supranational connections and of a desire for values of empathy and refuge that reverberate with debates about migration in Europe.
{"title":"Finding Refuge in King Lear: From Brexit to Shakespeare’s European Value","authors":"Stephen O'Neill","doi":"10.18778/2083-8530.19.07","DOIUrl":"https://doi.org/10.18778/2083-8530.19.07","url":null,"abstract":"Abstract This article considers how Shakespeare’s King Lear has become a Brexit play across a range of discourses and media, from theatre productions and journalism to social media. With its themes of division and disbursement, of cliff edges and tragic self-immolation, Lear is the Shakespearean play that has been turned to as metaphor and analogy for the UK’s decision following the 23 June 2016 referendum to leave the European Union. Reading this presentist application of Shakespeare, the article attends to Shakespeare as itself a discourse through which cultural ideas, both real and imaginary, about Brexit and the EU are negotiated. It asks how can we might remap Lear in this present context―what other meanings and histories are to be derived from the play, especially in Lear’s exile and search for refuge, or in Cordelia’s departure for and return from France? Moving from a consideration of a Brexit Lear to an archipelagic and even European Lear, this article argues that Shakespeare is simultaneously a site of supranational connections and of a desire for values of empathy and refuge that reverberate with debates about migration in Europe.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"19 1","pages":"119 - 138"},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44788248","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 : 2019-06-30DOI: 10.18778/2083-8530.19.03
Jami Rogers
Abstract This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.
摘要本文以三部作品为例，考察了英国专业莎剧中非洲裔和加勒比裔演员融合的进展。它认为，1972年、1988年和2012年的三部作品，每一部都采用了跨文化选角的方式，阐明了英国有色人种表演者的融入阶段。彼得·科(Peter Coe) 1972年的《黑色麦克白》(The Black Macbeth)上演时，莎士比亚的作品中存在隐性的种族歧视，但黑人演员参演的方式强化了主流的种族刻板印象。坦巴1988年的《罗密欧与朱丽叶》以古巴为背景，通过将黑人演员呈现在一个旨在将他们表现为“真正的人”的环境中，来挑战刻板印象。英国皇家莎士比亚剧团2012年的《凯撒大帝》是一部黑人在英国上演的莎士比亚舞台剧，它允许黑人演员利用他们的文化遗产来演绎莎士比亚，这标志着演员们在英国莎士比亚戏剧中得到了更大的包容。
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Pub Date : 2019-06-30DOI: 10.18778/2083-8530.19.06
M. Cieślak
Abstract In his Shakespearean productions Jan Klata tends to radically experiment with sets, texts, and contexts. He puts the plays in culturally and politically specific locations, experiments with bi- or multilingual productions, and incorporates other texts into the Shakespearean frame. In this way, he uses Shakespeare as a means to address contemporary problems and tensions that are vital for his geopolitical reality, exploring the issues of national identities, the cultural legacy of Europe and its nations, as well as past conflicts and present crises. Klata’s King Lear (Narodowy Teatr Stary, Kraków, 2014), set in the religious context of the Catholic Church and using mostly Polish language, with only decorative additions in foreign languages, does not engage in European politics with the same directness and force as his earlier productions. And yet, as I wish to argue, this performance is also strongly concerned with European identity, and may, therefore, be seen as a valid voice in the discussion on how Shakespearean productions help to understand our current-day reality.
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Pub Date : 2019-06-30DOI: 10.18778/2083-8530.19.04
R. Gillett
Abstract This article picks up on a tendency of recent criticism to look to Shakespeare for insights into contemporary politics, and extends it backwards to the period of German history known as the “Vormärz”―the period between 1815 and 1848. It establishes parallels between that period and the current debates about Brexit, and shows how equivalent issues are reflected in the accounts of King John given by three leading German critics of the “Vormärz” period―which also successively demonstrate the deleterious rise of German nationalism. These issues include: the weaknesses, mistakes and crimes of the powerful, and their effect both on the nation directly afflicted with them, and on others; the issue of national sovereignty and its relationship to the fellowship of nations; the struggle against arguably alien ways of thinking; the dividing line between necessary compromise and rank betrayal; the dilemma of choice; and the poisoned chalice of democratic freedom. And the parallels they establish between Shakespeare, the “Vormärz” and us are as instructive as they are unsettling.
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