Pub Date : 2022-04-01DOI: 10.1177/01847678211072270d
Kinga Földváry
Her main research interests include problems of genre in fi lm adaptations of Shakespeare ’ s plays, twentieth- and twenty- fi rst-century British litera-ture, and theories of visual and popular culture. Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film (MUP, 2020).
{"title":"Book review: Serial Shakespeare: An Infinite Variety of Appropriations in American TV Drama by Elisabeth Bronfen","authors":"Kinga Földváry","doi":"10.1177/01847678211072270d","DOIUrl":"https://doi.org/10.1177/01847678211072270d","url":null,"abstract":"Her main research interests include problems of genre in fi lm adaptations of Shakespeare ’ s plays, twentieth- and twenty- fi rst-century British litera-ture, and theories of visual and popular culture. Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film (MUP, 2020).","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"144 - 146"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65228088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678211062926
S. Fischer
If Macbeth is Shakespeare's play of equivocation and doubleness, Rupert Goold's and Gregory Doran's productions were informed by like concerns, even having double performance lives on stage and on film. Doran's production followed along the lines of Trevor Nunn's 1976 staging, which highlighted the interiority of the Macbeths in the intimate space of The Other Place. Besides creating a sense of intimacy on the Swan's stage, Doran underscored the play's political relevance. Goold's mise-en-scène, also performed in an intimate space, pushed further Doran's militaristic staging. Jan Kott's reading of Macbeth as a ‘nightmare’ also offers a yardstick for production choices.
{"title":"Macbeth apropos to Rupert Goold's and Gregory Doran's stagecraft: Equivocation, violence, and vulnerability","authors":"S. Fischer","doi":"10.1177/01847678211062926","DOIUrl":"https://doi.org/10.1177/01847678211062926","url":null,"abstract":"If Macbeth is Shakespeare's play of equivocation and doubleness, Rupert Goold's and Gregory Doran's productions were informed by like concerns, even having double performance lives on stage and on film. Doran's production followed along the lines of Trevor Nunn's 1976 staging, which highlighted the interiority of the Macbeths in the intimate space of The Other Place. Besides creating a sense of intimacy on the Swan's stage, Doran underscored the play's political relevance. Goold's mise-en-scène, also performed in an intimate space, pushed further Doran's militaristic staging. Jan Kott's reading of Macbeth as a ‘nightmare’ also offers a yardstick for production choices.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"39 - 62"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65228308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678211072270e
Peter Lewis
Her main research interests include problems of genre in fi lm adaptations of Shakespeare ’ s plays, twentieth- and twenty- fi rst-century British litera-ture, and theories of visual and popular culture. Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film (MUP, 2020).
{"title":"Book review: Studying Shakespeare Adaptation: From Restoration Theatre to YouTube by Pamela Bickley and Jenny Stevens","authors":"Peter Lewis","doi":"10.1177/01847678211072270e","DOIUrl":"https://doi.org/10.1177/01847678211072270e","url":null,"abstract":"Her main research interests include problems of genre in fi lm adaptations of Shakespeare ’ s plays, twentieth- and twenty- fi rst-century British litera-ture, and theories of visual and popular culture. Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film (MUP, 2020).","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"146 - 149"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65228268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678211072270f
Peter Lewis
{"title":"Book review: Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film by Kinga Földváry","authors":"Peter Lewis","doi":"10.1177/01847678211072270f","DOIUrl":"https://doi.org/10.1177/01847678211072270f","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"149 - 151"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65228377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678211072270g
Warren Chernaik
discussed in Part I that convert their adapted source from tragic to comic endings, Lost and Delirious features an adaptation of Twelfth Night in which the Viola character reaches ‘a tragic denouement’ (p. 198). Once again, Földváry shows here how genre changes in line with societal concerns while retaining its basic concepts, in this case, setting and coming-of-age narratives. It is noticeable, however, in this postmodern era, how such cultural change is assimilated more quickly into these popular films than was the case with the ‘classic’ genres previously discussed. Földváry also notes the contradiction that postmodern genre adaptation incorporates in its desire to confront the cultural authority of Shakespeare while confirming it in the very act of adaptation. The Shakespeare adaptations in the recent revival of vampire and zombie movies discussed in this section, such as Rosencrantz and Guildenstern are Undead (2009) and Warm Bodies (2013), exemplify this paradox. Földváry acknowledges the debt that these modern horror movies owe to their nineteenth-century antecedents, such as Bram Stoker’s novel, Dracula (1897), and she might also have noted that the way Shakespeare’s work permeates these postmodern movies is akin to how it is appropriated in many nineteenth-century novels, making it questionable whether there truly is a radical difference in the way the Bard’s cultural capital is invoked in these two very different eras. The final genre Földváry chooses to discuss – the biopic – seems something of an outlier alongside these ‘teen pic’ forms but, all-in-all, this is a well-structured study that examines a wide variety of movies in some detail. It provides a useful reference for the genre, adaptation, and Shakespeare studies and is an entertaining addition to the discourse on screen Shakespeare.
{"title":"Book review: Thomas Heywood and the Classical Tradition by Tania Demetriou and Janice Valls-Russell","authors":"Warren Chernaik","doi":"10.1177/01847678211072270g","DOIUrl":"https://doi.org/10.1177/01847678211072270g","url":null,"abstract":"discussed in Part I that convert their adapted source from tragic to comic endings, Lost and Delirious features an adaptation of Twelfth Night in which the Viola character reaches ‘a tragic denouement’ (p. 198). Once again, Földváry shows here how genre changes in line with societal concerns while retaining its basic concepts, in this case, setting and coming-of-age narratives. It is noticeable, however, in this postmodern era, how such cultural change is assimilated more quickly into these popular films than was the case with the ‘classic’ genres previously discussed. Földváry also notes the contradiction that postmodern genre adaptation incorporates in its desire to confront the cultural authority of Shakespeare while confirming it in the very act of adaptation. The Shakespeare adaptations in the recent revival of vampire and zombie movies discussed in this section, such as Rosencrantz and Guildenstern are Undead (2009) and Warm Bodies (2013), exemplify this paradox. Földváry acknowledges the debt that these modern horror movies owe to their nineteenth-century antecedents, such as Bram Stoker’s novel, Dracula (1897), and she might also have noted that the way Shakespeare’s work permeates these postmodern movies is akin to how it is appropriated in many nineteenth-century novels, making it questionable whether there truly is a radical difference in the way the Bard’s cultural capital is invoked in these two very different eras. The final genre Földváry chooses to discuss – the biopic – seems something of an outlier alongside these ‘teen pic’ forms but, all-in-all, this is a well-structured study that examines a wide variety of movies in some detail. It provides a useful reference for the genre, adaptation, and Shakespeare studies and is an entertaining addition to the discourse on screen Shakespeare.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"151 - 155"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65228415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678221078547d
Peter Malin
This was more like a street brawl than a genteel or decorous fencing match. Clutching the dead prince, Horatio (Jonathan Livingstone) was given Fortinbras’s closing verdict: ‘he was likely, had he been put on, / To have proved most royally’ (5.2.351–2). Paradoxically, it was McKellen’s Windsor performance that could most easily justify that description. Jumbo’s was altogether something less fusty.
{"title":"Performance review: The Duchess of Malfi by John Webster","authors":"Peter Malin","doi":"10.1177/01847678221078547d","DOIUrl":"https://doi.org/10.1177/01847678221078547d","url":null,"abstract":"This was more like a street brawl than a genteel or decorous fencing match. Clutching the dead prince, Horatio (Jonathan Livingstone) was given Fortinbras’s closing verdict: ‘he was likely, had he been put on, / To have proved most royally’ (5.2.351–2). Paradoxically, it was McKellen’s Windsor performance that could most easily justify that description. Jumbo’s was altogether something less fusty.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"109 - 112"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65229187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678211072270a
Jonathan Jowett
ence responses to the staged sonnets. In the final chapters of this collection, Linda McJannet considers specifically ‘physical theater’ (p. 545) and its changeful relations with dance narrative. Concentrating on adaptations of the late plays in the Shakespearean corpus, she looks in particular at John Farmanesh-Bocca’s Pericles Redux and Crystal Pite’s The Tempest Replica and showcases the sophistication and challenges of Shakespearean dance adaptation by contemporary companies. Shelia T. Cavanagh’s discussion closes the collection and remains in clear conversation with McJannet. Here, Synetic Theater’s Hamlet: The Rest is Silence (2002) works within the company’s conventions of offering wordless Shakespearean adaptation (in contrast to its non-Shakespearean productions) and Cavanagh carefully details the shocks which contemporary dance interpretations may constitute for audiences, critics, and the Fox Channel. This account of an American company with roots in ‘the Soviet theatrical tradition’ (p. 576) offers a dynamic conclusion to a collection that continues to showcase the diversity and provocative questioning that dance maintains when it has Shakespeare in its sights.
ence对舞台十四行诗的回应。在本集的最后几章中，Linda McJannet特别考虑了“实体剧场”（第545页）及其与舞蹈叙事的多变关系。她专注于改编莎士比亚作品集中的晚期戏剧，特别关注约翰·法马内什·博卡的《伯里克斯·雷多》和克里斯托·皮特的《暴风雨的复制品》，并展示了当代公司改编莎士比亚舞蹈的复杂性和挑战。Shelia T.Cavanagh的讨论结束了该系列，并与McJannet保持着明确的对话。在这里，Synetic Theater的《哈姆雷特：剩下的就是沉默》（Hamlet：The Rest is Silence，2002）符合该公司的惯例，即提供无言的莎士比亚改编作品（与非莎士比亚作品形成对比），卡瓦纳仔细地详述了当代舞蹈诠释可能给观众、评论家和福克斯频道带来的冲击。这篇关于一家植根于“苏联戏剧传统”的美国公司的报道（第576页）为一个系列提供了一个动态的结论，该系列继续展示舞蹈在莎士比亚的视野中所保持的多样性和挑衅性的质疑。
{"title":"Book review: The Works of John Webster: An Old-Spelling Critical Edition, vol. 4, ‘Sir Thomas Wyatt’, ‘Westward Ho, Northward Ho’, ‘The Fair Maid of the Inn’ by David Gunby, David Carnegie, and MacDonald P. Jackson","authors":"Jonathan Jowett","doi":"10.1177/01847678211072270a","DOIUrl":"https://doi.org/10.1177/01847678211072270a","url":null,"abstract":"ence responses to the staged sonnets. In the final chapters of this collection, Linda McJannet considers specifically ‘physical theater’ (p. 545) and its changeful relations with dance narrative. Concentrating on adaptations of the late plays in the Shakespearean corpus, she looks in particular at John Farmanesh-Bocca’s Pericles Redux and Crystal Pite’s The Tempest Replica and showcases the sophistication and challenges of Shakespearean dance adaptation by contemporary companies. Shelia T. Cavanagh’s discussion closes the collection and remains in clear conversation with McJannet. Here, Synetic Theater’s Hamlet: The Rest is Silence (2002) works within the company’s conventions of offering wordless Shakespearean adaptation (in contrast to its non-Shakespearean productions) and Cavanagh carefully details the shocks which contemporary dance interpretations may constitute for audiences, critics, and the Fox Channel. This account of an American company with roots in ‘the Soviet theatrical tradition’ (p. 576) offers a dynamic conclusion to a collection that continues to showcase the diversity and provocative questioning that dance maintains when it has Shakespeare in its sights.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"134 - 138"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47029761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678211072270i
Katherine Muskett
to re-appropriate the once-offensive term ‘queer’, so campaigners for disabled rights have seized on the term ‘crip’: ‘Let’s crip Richard and re-crip Richard and crip and re-crip Shakespeare studies – in whatever ways we can, as many times as it takes’ (p. 50). Part of this cripping is the attack on theatre as therapy, reliant as it is on ‘the medical model of disability’ (p. 89) according to which disability can be ‘cured’ and neurodiversity can ‘pass’ as neurotypicality. Loftis doesn’t mince her words: this model is rejected as ‘oppressive, dehumanizing, and fundamentally colonial in its impulses and orientation’. Typifying this approach is Kelly Hunter’s ‘Hunter Heartbeat Method’ (HHM) which, Loftis argues, teaches autistic children to ‘pass’ as neurotypical which ‘may not help to increase social acceptance for autistic identity and expression’ (p. 94). For Loftis, the idea that Shakespeare ‘can be used to fix them [...] implicitly says that autistic people are broken’ (p. 94). Moreover, the choice of text through which Hunter seeks to engage autistic children is darkly ironic: ‘Miranda’s words [in her exchange with Caliban] from The Tempest may uncomfortably haunt the image of the neurotypical adult teaching the autistic child to speak’ (p. 98). Loftis is much more positive about Hank Rogerson and Jilann Spitzmiller’s 2014 documentary, Still Dreaming, in which a group of elderly residents in the Lillian Booth Home for Actors (in New York) put on a production of A Midsummer Night’s Dream. Loftis’s approving verdict on the film is that it ‘concludes that those who are ablebodied and neurotypical can learn to embrace disability culture and neurodiverse ways of understanding relationships, accessibility, sensory perceptions, and time’ (p. 102). She notes an appropriate parallel between the disorientation experienced in the Athenian forest and ‘the sensory perceptions of the neurodiverse actors’ (p. 108) and she argues that the film never articulates the language of theatre’s curative potential; rather it is a ‘means of strengthening [the] disability community’ (p. 117). This is an eloquently argued and important volume. Its stress, throughout, on social inclusion is passionately held. If, occasionally, it sounds overly critical to me that may well be a manifestation of my own neurotypical viewpoint. That I am now in a position to acknowledge that possibility is a testament to Loftis’s argumentative success.
{"title":"Book review: Shakespeare's Military Spouses and Twenty-First-Century Warfare by Kelsey Ridge","authors":"Katherine Muskett","doi":"10.1177/01847678211072270i","DOIUrl":"https://doi.org/10.1177/01847678211072270i","url":null,"abstract":"to re-appropriate the once-offensive term ‘queer’, so campaigners for disabled rights have seized on the term ‘crip’: ‘Let’s crip Richard and re-crip Richard and crip and re-crip Shakespeare studies – in whatever ways we can, as many times as it takes’ (p. 50). Part of this cripping is the attack on theatre as therapy, reliant as it is on ‘the medical model of disability’ (p. 89) according to which disability can be ‘cured’ and neurodiversity can ‘pass’ as neurotypicality. Loftis doesn’t mince her words: this model is rejected as ‘oppressive, dehumanizing, and fundamentally colonial in its impulses and orientation’. Typifying this approach is Kelly Hunter’s ‘Hunter Heartbeat Method’ (HHM) which, Loftis argues, teaches autistic children to ‘pass’ as neurotypical which ‘may not help to increase social acceptance for autistic identity and expression’ (p. 94). For Loftis, the idea that Shakespeare ‘can be used to fix them [...] implicitly says that autistic people are broken’ (p. 94). Moreover, the choice of text through which Hunter seeks to engage autistic children is darkly ironic: ‘Miranda’s words [in her exchange with Caliban] from The Tempest may uncomfortably haunt the image of the neurotypical adult teaching the autistic child to speak’ (p. 98). Loftis is much more positive about Hank Rogerson and Jilann Spitzmiller’s 2014 documentary, Still Dreaming, in which a group of elderly residents in the Lillian Booth Home for Actors (in New York) put on a production of A Midsummer Night’s Dream. Loftis’s approving verdict on the film is that it ‘concludes that those who are ablebodied and neurotypical can learn to embrace disability culture and neurodiverse ways of understanding relationships, accessibility, sensory perceptions, and time’ (p. 102). She notes an appropriate parallel between the disorientation experienced in the Athenian forest and ‘the sensory perceptions of the neurodiverse actors’ (p. 108) and she argues that the film never articulates the language of theatre’s curative potential; rather it is a ‘means of strengthening [the] disability community’ (p. 117). This is an eloquently argued and important volume. Its stress, throughout, on social inclusion is passionately held. If, occasionally, it sounds overly critical to me that may well be a manifestation of my own neurotypical viewpoint. That I am now in a position to acknowledge that possibility is a testament to Loftis’s argumentative success.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"157 - 160"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48739682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/01847678221078547f
Peter Malin
(5.1.38) – berating Adrianna for her jealousy with outrageous hypocrisy. Observing that Adrianna should have ‘reprehended’Antipholus more roughly for his alleged infidelity, she concludes that he’s gone mad because of his wife’s ‘venom clamours’ (5.1.57, 70). By the end of the play, we’ve all completely forgotten there’s a missing mother in the story, so the revelation of the Abbess’s identity as Aemilia [sic], Egeon’s long-lost wife, always gets one of the play’s biggest laughs, as it did here. But Shakespeare can turn the mood on a sixpence, as the actors did in this production, supported by Dyfan Jones’s hauntingly atmospheric sound design. The Abbess’s concluding speech moves the play into a realm of transcendent joy, emphasised on this occasion by her gentle touch on Adrianna’s stomach as she spoke her final line: ‘After so long grief, such nativity’ (5.1.407) – (less resonantly, ‘festivity’ in the Oxford text). At the end of the show, on both occasions, I was, quite literally, in tears – moved not just by the play’s exquisite, if qualified, resolution, but by the experience of being back in a theatre at a live performance after 18 months in varying degrees of lockdown.
{"title":"Performance review: The Fawn; or Parasitaster by John Marston","authors":"Peter Malin","doi":"10.1177/01847678221078547f","DOIUrl":"https://doi.org/10.1177/01847678221078547f","url":null,"abstract":"(5.1.38) – berating Adrianna for her jealousy with outrageous hypocrisy. Observing that Adrianna should have ‘reprehended’Antipholus more roughly for his alleged infidelity, she concludes that he’s gone mad because of his wife’s ‘venom clamours’ (5.1.57, 70). By the end of the play, we’ve all completely forgotten there’s a missing mother in the story, so the revelation of the Abbess’s identity as Aemilia [sic], Egeon’s long-lost wife, always gets one of the play’s biggest laughs, as it did here. But Shakespeare can turn the mood on a sixpence, as the actors did in this production, supported by Dyfan Jones’s hauntingly atmospheric sound design. The Abbess’s concluding speech moves the play into a realm of transcendent joy, emphasised on this occasion by her gentle touch on Adrianna’s stomach as she spoke her final line: ‘After so long grief, such nativity’ (5.1.407) – (less resonantly, ‘festivity’ in the Oxford text). At the end of the show, on both occasions, I was, quite literally, in tears – moved not just by the play’s exquisite, if qualified, resolution, but by the experience of being back in a theatre at a live performance after 18 months in varying degrees of lockdown.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"116 - 119"},"PeriodicalIF":0.5,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48226325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","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：