Pub Date : 2023-10-03DOI: 10.1080/17450918.2023.2261898
James M. Sutton
ABSTRACTSantiago is a bilingual script of Othello, created jointly by Joe Falocco of Texas State University and Shakespearean scholar and translator Alfredo Michel Modenessi. Developed during spring 2023, it was performed as a staged reading at the 51st Annual Shakespeare Association of America Conference. This production directed by Maija Garcia of the Guthrie Theatre's Professional Training Program, featured a BIPOC and Latine cast. In performance, the script offered new perspectives on Othello, shifting focus away from Othello and Desdemona and highlighting Iago and Emilia instead. Santiago thus seems less concerned with issues of race and colourism than with questions of religious and cultural identity, especially as marked by linguistic power founded upon the ability to code-switch with ease between two languages, in this case, (Shakespeare's) English and (Modenessi's) Spanish. An extended interview with Falocco, Modenessi, and the two Texas State actors who voiced in Minneapolis examines these claims; a coda then places Santiago into wider conversation with prior scholarship on the nature of translation, issues of Othello and race, and the newly emergent field of Borderlands Shakespeare.KEYWORDS: OthellotranslationShakespearean performanceLatine ShakespeareBorderlands Shakespeare Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Buffone and Della Gatta, ‘Introduction: Shakespeare and Latinidad’, 3.2 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxii.3 Falocco, ‘Echoes of Cervantes’, 8.4 Little, ‘Introduction’, 6.5 Ibid., 9.6 Kendi, How to be an Antiracist, 40.7 Little, ‘Introduction’, 4.8 Ibid., 14.9 Bevington, The Complete Works of Shakespeare, ‘Antony and Cleopatra’, 1.5.29.10 Bevington, The Complete Works of Shakespeare, ‘Merchant of Venice’, 2.1.2–4.11 Bevington, The Complete Works of Shakespeare, ‘Othello’, 3.4.29–30.12 Falocco, ‘Echoes of Cervantes’, 2–4.13 Quoted in Falocco, ‘Echoes of Cervantes’, 3.14 Cobb, King, and Kello, ‘A Theatre Practice’, 205.15 Ibid., 206.16 Rekskou, ‘Translating Richard’, 98–100.17 Modenessi, ‘Every Like is not the Same’.18 Joubin, ‘Others Within’, 31–33.19 Schroeder-Arce, ‘Shakespeare with … Latinx Youth’, 128–35.20 Thompson, ‘Practicing a Theory’, 1–26.21 Modenessi, ‘You Say’, 40–42.22 Falocco, ‘Lleno de Tejanidad’, 170–77.23 Botelho, ‘De-Emphasizing Race’, 370–74.24 De Sousa, ‘Introduction’, 137.25 Corredera, ‘The Moor Makes a Cameo’, 359–60.26 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxiii.27 Ibid., xv–xvi.28 Espinosa, ‘Don’t It Make My Brown Eyes’, 57.
{"title":"<i>Santiago</i> : Making Bilingual Shakespeare Count","authors":"James M. Sutton","doi":"10.1080/17450918.2023.2261898","DOIUrl":"https://doi.org/10.1080/17450918.2023.2261898","url":null,"abstract":"ABSTRACTSantiago is a bilingual script of Othello, created jointly by Joe Falocco of Texas State University and Shakespearean scholar and translator Alfredo Michel Modenessi. Developed during spring 2023, it was performed as a staged reading at the 51st Annual Shakespeare Association of America Conference. This production directed by Maija Garcia of the Guthrie Theatre's Professional Training Program, featured a BIPOC and Latine cast. In performance, the script offered new perspectives on Othello, shifting focus away from Othello and Desdemona and highlighting Iago and Emilia instead. Santiago thus seems less concerned with issues of race and colourism than with questions of religious and cultural identity, especially as marked by linguistic power founded upon the ability to code-switch with ease between two languages, in this case, (Shakespeare's) English and (Modenessi's) Spanish. An extended interview with Falocco, Modenessi, and the two Texas State actors who voiced in Minneapolis examines these claims; a coda then places Santiago into wider conversation with prior scholarship on the nature of translation, issues of Othello and race, and the newly emergent field of Borderlands Shakespeare.KEYWORDS: OthellotranslationShakespearean performanceLatine ShakespeareBorderlands Shakespeare Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Buffone and Della Gatta, ‘Introduction: Shakespeare and Latinidad’, 3.2 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxii.3 Falocco, ‘Echoes of Cervantes’, 8.4 Little, ‘Introduction’, 6.5 Ibid., 9.6 Kendi, How to be an Antiracist, 40.7 Little, ‘Introduction’, 4.8 Ibid., 14.9 Bevington, The Complete Works of Shakespeare, ‘Antony and Cleopatra’, 1.5.29.10 Bevington, The Complete Works of Shakespeare, ‘Merchant of Venice’, 2.1.2–4.11 Bevington, The Complete Works of Shakespeare, ‘Othello’, 3.4.29–30.12 Falocco, ‘Echoes of Cervantes’, 2–4.13 Quoted in Falocco, ‘Echoes of Cervantes’, 3.14 Cobb, King, and Kello, ‘A Theatre Practice’, 205.15 Ibid., 206.16 Rekskou, ‘Translating Richard’, 98–100.17 Modenessi, ‘Every Like is not the Same’.18 Joubin, ‘Others Within’, 31–33.19 Schroeder-Arce, ‘Shakespeare with … Latinx Youth’, 128–35.20 Thompson, ‘Practicing a Theory’, 1–26.21 Modenessi, ‘You Say’, 40–42.22 Falocco, ‘Lleno de Tejanidad’, 170–77.23 Botelho, ‘De-Emphasizing Race’, 370–74.24 De Sousa, ‘Introduction’, 137.25 Corredera, ‘The Moor Makes a Cameo’, 359–60.26 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxiii.27 Ibid., xv–xvi.28 Espinosa, ‘Don’t It Make My Brown Eyes’, 57.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135696146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/17450918.2023.2273931
Linhan Gan
ABSTRACT In their adaptations of Hamlet, the two Chinese films, The Banquet and Prince of the Himalayas, present the protagonists' dilemma from a very different light and emphasizes the role of non-action in their exploration of self-worth and the objective truth. As a popular Taoist practice, wu wei, as prince Wu Luan clearly shows, allows one to achieve integration with primordial nature. In politics, it helps one govern in the most natural and unselfconscious manner. For the Tibetan prince, Lhamoklodan, the Buddhist meditation is key to attaining the truth. This deliberate non-action helps the prince to discover his lineage and reach spiritual awakening. Neither of the films gives non-action an unqualified endorsement, however. An uncritical observance of wu wei leaves one vulnerable in the political world; for Buddhism, violence is sometimes justified, insofar as it helps a would-be wrong-doer avoid the accumulation of further negative karma.
{"title":"Bound by Non-action: The Art of Not Doing in The Banquet and Prince of the Himalayas","authors":"Linhan Gan","doi":"10.1080/17450918.2023.2273931","DOIUrl":"https://doi.org/10.1080/17450918.2023.2273931","url":null,"abstract":"ABSTRACT In their adaptations of Hamlet, the two Chinese films, The Banquet and Prince of the Himalayas, present the protagonists' dilemma from a very different light and emphasizes the role of non-action in their exploration of self-worth and the objective truth. As a popular Taoist practice, wu wei, as prince Wu Luan clearly shows, allows one to achieve integration with primordial nature. In politics, it helps one govern in the most natural and unselfconscious manner. For the Tibetan prince, Lhamoklodan, the Buddhist meditation is key to attaining the truth. This deliberate non-action helps the prince to discover his lineage and reach spiritual awakening. Neither of the films gives non-action an unqualified endorsement, however. An uncritical observance of wu wei leaves one vulnerable in the political world; for Buddhism, violence is sometimes justified, insofar as it helps a would-be wrong-doer avoid the accumulation of further negative karma.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/17450918.2023.2264821
Fernando Martinez Periset
{"title":"Shakespeare’s Virtuous Theatre: Power, Capacity, and the Good <b>Shakespeare’s Virtuous Theatre: Power, Capacity, and the Good</b> , edited by Kent Lehnhof, Julia Reinhard Lupton, and Carolyn Sale, Edinburgh, Edinburgh University Press, 2023, x + 334 pp., £95 (hardback), ISBN 978-1-4744-9904-0","authors":"Fernando Martinez Periset","doi":"10.1080/17450918.2023.2264821","DOIUrl":"https://doi.org/10.1080/17450918.2023.2264821","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135893533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–1900 <b>Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–1900</b> , by Suddhaseel Sen, New York and Abingdon, Routledge, 2021, xv + 248 pp., £115.00 (hardback), ISBN: 978-0-367-56886-3","authors":"Shormishtha Panja","doi":"10.1080/17450918.2023.2258855","DOIUrl":"https://doi.org/10.1080/17450918.2023.2258855","url":null,"abstract":"\"Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–1900.\" Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136154048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-20DOI: 10.1080/17450918.2023.2255162
Zakia Resshid Ehsen, Amra Raza, Shahzeb Khan
ABSTRACTThis research examines the political nature of appropriation in Pakistan’s theatrical production Illaje-Zid-Dastiyab-Hey (2012), an Urdu adaptation of William Shakespeare’s The Taming of the Shrew (1590). During the Cultural Olympiad of 2012, the play was presented at London’s Globe Theatre under the direction of Haissam Hussain. The study investigates how the use of appropriative techniques enables the playwright to portray Pakistani identity and uphold the country’s cultural heritage. The paper argues that by contextualising and appropriating the work within the specific cultural and social milieu of Pakistan, the appropriated play strives to foster a sense of local identity and promote a deeper understanding of Pakistan among a diverse global audience. It accomplishes the above by analysing the changes in plot structure, symbol and sign display, musicalization, dance, and multimedia installations in the live performance of the Pakistani variant using Hans Theis Lehmann’s Post-dramatic theory (1960). Moreover, the study also examines how Hussain’s adaptation departs from conventional drama from a post-dramatic perspective. In addition to localising the play, this approach also enables a broader appreciation of Pakistan’s unique cultural heritage by depicting its cultural traditions and historical legacy.KEYWORDS: LahorePakistani cultureindigeneityUrdu and Pashtu languagesmusical instrumentsShakespeare’s Globe Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Buckley, ‘An Equal Partnership’, 81.2 Ibid.3 Shahid, Shakespeare Gets a Pakistani Makeover, 68.4 Hutcheon, Theory of Adaptation, 103.5 Marsden, Appropriation of Shakespeare, 1.6 Abad, ‘Appropriating Shakespeare’, 5, 8.7 Lehmann, Post Dramatic Theatre, 24, 92, 141, 81, 92, 131, 35, 131, 21, 141, 91, 62, 89, 86, 89, 85, 91.8 Bulman, The Oxford Handbook of Shakespeare and Performance, 129, 423, 581.9 Crossley, Woods and Pinchbeck, Active Experiencing in Postdramatic, 146, 153, 159.10 Lehmann, Post Dramatic Theatre.11 Carlson, ‘Postdramatic Theatre and Postdramatic Performance’, 577–95.12 Ibid.13 Shakespeare, The Taming of the Shrew, 470.14 Ibid.15 Pakistan Pashtuns.16 Shakespeare in Urdu, 149, 155.17 Shamsi, BBC Urdu News.18 Sharif, ‘Literary and Linguistic Exploration’, 78–89.19 Khan, University of Mianwali.20 https://dpomwi.punjabpolice.gov.pk/district_overview21 Iqbal, Shakespeare’s Globe.22 Sharif, ‘Literary and Linguistic Exploration’.23 Lehmann, Post Dramatic Theatre.24 Mohammad Muazzam Sharif, ‘Critique On The Presence’, 4333.25 Systems, Pakistan Development Perspective.26 Sheehan, Cultures of the World.27 https://bcmcr.org/culturaltranslation/tag/homi-bhabha/28 Bhabha, ‘Postcolonial Authority and Postmodern Guilt’, 56–96.29 https://bcmcr.org/culturaltranslation/tag/homi-bhabha/30 Bhabha, ‘Postcolonial Authority and Postmodern Guilt’.31 Abad, ‘Appropriating Shakespeare’.32 Shakespeare, W. The Taming of the Shrew.33 Iqbal, Shakespeare’s Gl
{"title":"Re-localising Shakespeare in Pakistan: A Post-Dramatic Appropriation of Shakespeare’s <i>The Taming of the Shrew</i> as <i>Illaj-e-Zid-Dastiyab-Hey</i>","authors":"Zakia Resshid Ehsen, Amra Raza, Shahzeb Khan","doi":"10.1080/17450918.2023.2255162","DOIUrl":"https://doi.org/10.1080/17450918.2023.2255162","url":null,"abstract":"ABSTRACTThis research examines the political nature of appropriation in Pakistan’s theatrical production Illaje-Zid-Dastiyab-Hey (2012), an Urdu adaptation of William Shakespeare’s The Taming of the Shrew (1590). During the Cultural Olympiad of 2012, the play was presented at London’s Globe Theatre under the direction of Haissam Hussain. The study investigates how the use of appropriative techniques enables the playwright to portray Pakistani identity and uphold the country’s cultural heritage. The paper argues that by contextualising and appropriating the work within the specific cultural and social milieu of Pakistan, the appropriated play strives to foster a sense of local identity and promote a deeper understanding of Pakistan among a diverse global audience. It accomplishes the above by analysing the changes in plot structure, symbol and sign display, musicalization, dance, and multimedia installations in the live performance of the Pakistani variant using Hans Theis Lehmann’s Post-dramatic theory (1960). Moreover, the study also examines how Hussain’s adaptation departs from conventional drama from a post-dramatic perspective. In addition to localising the play, this approach also enables a broader appreciation of Pakistan’s unique cultural heritage by depicting its cultural traditions and historical legacy.KEYWORDS: LahorePakistani cultureindigeneityUrdu and Pashtu languagesmusical instrumentsShakespeare’s Globe Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Buckley, ‘An Equal Partnership’, 81.2 Ibid.3 Shahid, Shakespeare Gets a Pakistani Makeover, 68.4 Hutcheon, Theory of Adaptation, 103.5 Marsden, Appropriation of Shakespeare, 1.6 Abad, ‘Appropriating Shakespeare’, 5, 8.7 Lehmann, Post Dramatic Theatre, 24, 92, 141, 81, 92, 131, 35, 131, 21, 141, 91, 62, 89, 86, 89, 85, 91.8 Bulman, The Oxford Handbook of Shakespeare and Performance, 129, 423, 581.9 Crossley, Woods and Pinchbeck, Active Experiencing in Postdramatic, 146, 153, 159.10 Lehmann, Post Dramatic Theatre.11 Carlson, ‘Postdramatic Theatre and Postdramatic Performance’, 577–95.12 Ibid.13 Shakespeare, The Taming of the Shrew, 470.14 Ibid.15 Pakistan Pashtuns.16 Shakespeare in Urdu, 149, 155.17 Shamsi, BBC Urdu News.18 Sharif, ‘Literary and Linguistic Exploration’, 78–89.19 Khan, University of Mianwali.20 https://dpomwi.punjabpolice.gov.pk/district_overview21 Iqbal, Shakespeare’s Globe.22 Sharif, ‘Literary and Linguistic Exploration’.23 Lehmann, Post Dramatic Theatre.24 Mohammad Muazzam Sharif, ‘Critique On The Presence’, 4333.25 Systems, Pakistan Development Perspective.26 Sheehan, Cultures of the World.27 https://bcmcr.org/culturaltranslation/tag/homi-bhabha/28 Bhabha, ‘Postcolonial Authority and Postmodern Guilt’, 56–96.29 https://bcmcr.org/culturaltranslation/tag/homi-bhabha/30 Bhabha, ‘Postcolonial Authority and Postmodern Guilt’.31 Abad, ‘Appropriating Shakespeare’.32 Shakespeare, W. The Taming of the Shrew.33 Iqbal, Shakespeare’s Gl","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136308304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-18DOI: 10.1080/17450918.2023.2240298
Roger Graham
ABSTRACTThis paper examines the surviving production evidence from the long-prepared but never staged production of King Lear from industrial designer Norman Bel Geddes and explores the evidence through the lens of Bel Geddes as regisseur. Following a brief introduction to Bel Geddes’ artistic background, it considers the evidence in light of several forces influencing the world of American theatre at the time. This paper goes on to devote considerable focus not only to the evidence specifically related to the King Lear production, including the production script and scene renderings, but also to the ongoing connection between the production and Bel Geddes’ design for ‘Theatre Six’ and its integral role in manifesting the designer’s vision for his adaptation of Shakespeare: the paradoxical use of developing technology to aid in returning the staging of Shakespeare to its Early Modern form. The paper concludes with a consideration of the manner in which his approach to Shakespeare illustrates the need to answer Bel Geddes’ plea for supporting new voices in theatre.KEYWORDS: ShakespeareKing LearNorman Bel Geddestheatrical design Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Bel Geddes, Papers, Theater Box 156, Folder j3. Norman Bel Geddes to Dorothy Lockhart, October 17, 1929.2 Wilson and Goldfarb. Living Theatre, 371.3 Moderwell, The Theatre of Today, 59.4 Ibid., 64.5 Bel Geddes’ handwritten notes on the title page of his personal copy of: Moderwell, The Theatre of Today. Located at The Harry Ransom Center, The University of Texas at Austin. Austin, Texas. Call no. PN 2189 M6 HRC-TA, Copy 3.6 Bel Geddes’ handwritten note, page 64 of his personal copy of: Moderwell, The Theatre of Today. Located at The Harry Ransom Center, The University of Texas at Austin. Austin, Texas. Call no. PN 2189 M6 HRC-TA, Copy 3.7 Szerlip, ‘Colossal in Scale’.8 Bel Geddes, Miracle in the Evening, 132.9 Ibid., 95.10 Macgowan, ‘New Path of the Theatre’, 85–86.11 Reinhardt, ‘Theatre Through Reinhardt’s Eyes’, 65.12 Craig, A Living Theatre, 3.13 Bragdon, ‘Towards a New Theatre’, 172.14 Bel Geddes, Papers, Theater Box 156, Folder j3. Norman Bel Geddes to Dorothy Lockhart, October 17, 1929.15 Fuerst and Hume, Twentieth-Century Stage Decoration, 5.16 Ibid.17 Kennedy, Looking at Shakespeare, 26.18 Ibid., 27.19 Dobson et al., Oxford Companion to Shakespeare, 437.20 Kennedy, Looking at Shakespeare, 35.21 Crosse, Shakespearean Playgoing 1890-1952, 47.22 Bel Geddes, Miracle in the Evening, 342.23 Wilson and Goldfarb, Living Theatre, 418.24 Bel Geddes, ‘Theatre of the Future’, 124.25 Bel Geddes had first encountered Appia’s work through Hiram Moderwell, whose The Theatre of Today featured an Appia design opposite its title page.26 Craig, A Living Theatre, 4.27 Appia, Music and the Art, 13.28 Simonson, ‘The Necessary Illusion’, 91.29 Macgowan, ‘The New Path of the Theatre’, 89.30 Hornblow, Theatre in America, 320.31 Bel Geddes, Miracle in t
摘要本文从工业设计师诺曼·贝尔·格迪斯制作的《李尔王》中提取现存的制作证据，并通过贝尔·格迪斯作为记录者的视角来探讨这些证据。在简要介绍了贝尔·格迪斯的艺术背景之后，它根据当时影响美国戏剧界的几种力量来考虑证据。本文继续将相当多的注意力集中在《李尔王》制作的具体证据上，包括制作剧本和场景渲染，而且还将注意力集中在制作与贝尔·格迪斯(Bel Geddes)为“第六剧院”设计的设计之间的持续联系，以及它在体现设计师对莎士比亚改编的愿景方面的不可或缺的作用:发展技术的矛盾使用，以帮助将莎士比亚的舞台回归到早期现代形式。论文最后考虑了他对莎士比亚的态度，说明了需要回答贝尔·格迪斯(Bel Geddes)支持剧院新声音的请求。关键词:莎士比亚，国王，学习，诺曼·贝尔·格德，戏剧设计，披露声明，作者未发现潜在的利益冲突。注1 Bel Geddes，论文，剧场包厢156，文件夹j3。诺曼·贝尔·格迪斯致多萝西·洛克哈特，1929年10月17日威尔逊和戈德法布。《活着的剧场》，371.3莫德韦尔，《今日剧场》，59.4同上，64.5贝尔·格迪斯在他个人的《莫德韦尔，今日剧场》的扉页上手写的笔记。位于哈里兰森中心，德克萨斯大学奥斯汀分校。奥斯汀,德克萨斯州。没有打电话。PN 2189 M6 HRC-TA，副本3.6 Bel Geddes的手写笔记，第64页他的个人副本:Moderwell, The Theatre of Today。位于哈里兰森中心，德克萨斯大学奥斯汀分校。奥斯汀,德克萨斯州。没有打电话。pn2189 M6 HRC-TA，复制品3.7 Szerlip， ' Colossal in Scale ' .8贝尔·格迪斯，《夜晚的奇迹》，132.9年同上，95.10麦高恩，《戏剧的新道路》，85-86.11莱因哈特，《莱因哈特眼中的戏剧》，65.12克雷格，《活生生的剧院》，3.13布拉格登，《走向新剧院》，172.14贝尔·格迪斯，《论文》，戏剧盒156，文件夹j3。诺曼·贝尔·格迪斯致多萝西·洛克哈特，1929.10月17日。富尔斯特和休谟，《二十世纪舞台装饰》，5.16同上，17肯尼迪，《看莎士比亚》，26.18同上，27.19多布森等人，《牛津莎士比亚指南》，437.20肯尼迪，《看莎士比亚》，35.21克罗斯，《莎士比亚戏剧》，1890-1952年，47.22贝尔·格迪斯，《夜晚的奇迹》，342.23威尔逊和戈德法布，《生活剧场》，418.24贝尔·格迪斯，《未来的剧场》，124.25 Bel Geddes第一次接触到Appia的作品是通过Hiram Moderwell，他的《今日剧场》(The Theatre of Today)的扉页对面有一个Appia的设计克雷格，《活的剧院》，4.27阿皮亚，音乐与艺术，13.28西蒙森，《必要的幻觉》，91.29麦高恩，《剧院的新道路》，89.30霍恩布洛，《美国剧院》，320.31贝尔·格迪斯，《夜晚的奇迹》，172.32因尼斯，《设计现代美国》，41.33哈德伯格，策展人，《新舞台工艺》，34贝尔·格迪斯，《夜晚的奇迹》，259.35同上，146.36布洛克特等人，《制作场景》，234.37麦高恩，《剧院的新道路》，87.38贝尔·格迪斯，论文，剧场包厢61，文件夹k1。诺曼·贝尔·格迪斯为《李尔王》创作的剧本序言。39贝尔·格迪斯，文件，剧院包厢161，文件夹Y1。1994年4月诺曼·贝尔·格德斯在纽约建筑联盟演讲的手稿笔记同上，6号剧院后来成为格德斯为1939年芝加哥世界博览会设计的保留剧院的一部分。贝尔·格德斯，《夜晚的奇迹》，179.42贝尔·格德斯，论文，61号剧院包厢，文件夹X1。展览标题材料Bel Geddes等人，“剧院规划:研讨会”，3.44 Simonson，“必要的幻觉”，91。西蒙森的文章出现在格迪斯自己的文章《未来的剧院》之前贝尔·格迪斯，论文，剧院包厢61，文件夹X1。展览标题材料贝尔·格迪斯，论文，剧院包厢61，文件夹k1。诺曼·贝尔·格迪斯为《李尔王》编写的剧本序言。47贝尔·格迪斯通过使用场景/场景划分/场景划分页码(如有必要)对剧本中的页面进行编号。例如，他的脚本开始于1.1，结束于9.4.3。因此，他的页码读起来类似于包含额外数字的行为/场景。由于贝尔·格迪斯的手稿是基于剑桥版的，本文中的文本参考既包括剑桥的位置(C)，也包括贝尔·格迪斯的手稿(G)。48贝尔·格迪斯，论文，剧院包厢61，文件夹k1。诺曼·贝尔·格迪斯为《李尔王》创作剧本的序言。49贝尔·格迪斯，论文，剧院包厢61，文件夹k1。《李尔王》的制作剧本同上贝尔·格迪斯在传统剧院上演这出戏的计划包括可移动的石块，这些石块可以重新排列成不同的形状贝尔·格迪斯，《夜晚的奇迹》，1980年。
{"title":"Industrial Nature: The Unrealised <i>King Lear</i> of Norman Bel Geddes","authors":"Roger Graham","doi":"10.1080/17450918.2023.2240298","DOIUrl":"https://doi.org/10.1080/17450918.2023.2240298","url":null,"abstract":"ABSTRACTThis paper examines the surviving production evidence from the long-prepared but never staged production of King Lear from industrial designer Norman Bel Geddes and explores the evidence through the lens of Bel Geddes as regisseur. Following a brief introduction to Bel Geddes’ artistic background, it considers the evidence in light of several forces influencing the world of American theatre at the time. This paper goes on to devote considerable focus not only to the evidence specifically related to the King Lear production, including the production script and scene renderings, but also to the ongoing connection between the production and Bel Geddes’ design for ‘Theatre Six’ and its integral role in manifesting the designer’s vision for his adaptation of Shakespeare: the paradoxical use of developing technology to aid in returning the staging of Shakespeare to its Early Modern form. The paper concludes with a consideration of the manner in which his approach to Shakespeare illustrates the need to answer Bel Geddes’ plea for supporting new voices in theatre.KEYWORDS: ShakespeareKing LearNorman Bel Geddestheatrical design Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Bel Geddes, Papers, Theater Box 156, Folder j3. Norman Bel Geddes to Dorothy Lockhart, October 17, 1929.2 Wilson and Goldfarb. Living Theatre, 371.3 Moderwell, The Theatre of Today, 59.4 Ibid., 64.5 Bel Geddes’ handwritten notes on the title page of his personal copy of: Moderwell, The Theatre of Today. Located at The Harry Ransom Center, The University of Texas at Austin. Austin, Texas. Call no. PN 2189 M6 HRC-TA, Copy 3.6 Bel Geddes’ handwritten note, page 64 of his personal copy of: Moderwell, The Theatre of Today. Located at The Harry Ransom Center, The University of Texas at Austin. Austin, Texas. Call no. PN 2189 M6 HRC-TA, Copy 3.7 Szerlip, ‘Colossal in Scale’.8 Bel Geddes, Miracle in the Evening, 132.9 Ibid., 95.10 Macgowan, ‘New Path of the Theatre’, 85–86.11 Reinhardt, ‘Theatre Through Reinhardt’s Eyes’, 65.12 Craig, A Living Theatre, 3.13 Bragdon, ‘Towards a New Theatre’, 172.14 Bel Geddes, Papers, Theater Box 156, Folder j3. Norman Bel Geddes to Dorothy Lockhart, October 17, 1929.15 Fuerst and Hume, Twentieth-Century Stage Decoration, 5.16 Ibid.17 Kennedy, Looking at Shakespeare, 26.18 Ibid., 27.19 Dobson et al., Oxford Companion to Shakespeare, 437.20 Kennedy, Looking at Shakespeare, 35.21 Crosse, Shakespearean Playgoing 1890-1952, 47.22 Bel Geddes, Miracle in the Evening, 342.23 Wilson and Goldfarb, Living Theatre, 418.24 Bel Geddes, ‘Theatre of the Future’, 124.25 Bel Geddes had first encountered Appia’s work through Hiram Moderwell, whose The Theatre of Today featured an Appia design opposite its title page.26 Craig, A Living Theatre, 4.27 Appia, Music and the Art, 13.28 Simonson, ‘The Necessary Illusion’, 91.29 Macgowan, ‘The New Path of the Theatre’, 89.30 Hornblow, Theatre in America, 320.31 Bel Geddes, Miracle in t","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135148667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-15DOI: 10.1080/17450918.2023.2258839
Emma Venter
"Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference." Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2
莎士比亚与伊丽莎白改革:宗教差异的文学谈判莎士比亚，先于印刷(先于印刷)，第1-2页
{"title":"Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference","authors":"Emma Venter","doi":"10.1080/17450918.2023.2258839","DOIUrl":"https://doi.org/10.1080/17450918.2023.2258839","url":null,"abstract":"\"Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference.\" Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135397023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-15DOI: 10.1080/17450918.2023.2255570
Gemma Miller
Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).
点击放大图片点击缩小图片披露声明作者未报告潜在的利益冲突。
{"title":"Review of Shakespeare's <i>The Comedy of Errors</i> (Directed by Sean Holmes) and <i>Macbeth</i> (Directed by Abigail Graham) at Shakespeare's Globe Theatre, London, 5 July 2023 and 9 August 2023","authors":"Gemma Miller","doi":"10.1080/17450918.2023.2255570","DOIUrl":"https://doi.org/10.1080/17450918.2023.2255570","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135396864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-13DOI: 10.1080/17450918.2023.2249422
Erika Mary Boeckeler
This case study of the Dionysus ornament illustrates how the 1623 Shakespearean folio carries with it echoes of previous folio works as it reinterprets this image within its own context. The paper establishes the other Jaggard Press titles in which the headpiece appears to explore how these different contexts draw out the image’s semiotic potential. It notes an extreme uptick in use in Crooke’s Mikrokosmographia, an anatomical work in which urination and ejaculation feature prominently. Operating in tandem with the 1623 prefatory materials, the headpiece participates in the visual organisational logic of the Folio, structures the Folio’s establishment of generic variety, and introduces the volume-wide rhetorical strategy of reading Englishness within a global context. The woodcut’s synchronously urinating dogs also suggest a commentary on the communal bodily experience of live theatre. Having noted ways early modern printed folio projects can be mutually citational through ornaments, the paper discusses how the Shakespearean volume positions itself within the English inflection of classical single-author collected drama through the associations with Dionysus, patron god of drama, and Ben Jonson’s 1616 Workes. The conclusion considers the Second Folio’s adoption of the headpiece as part of the 1623 Folio’s iconic look.
{"title":"Dogs Urinating on the 1623 Folio: The Jaggard Press’s Dionysus Ornament in Context","authors":"Erika Mary Boeckeler","doi":"10.1080/17450918.2023.2249422","DOIUrl":"https://doi.org/10.1080/17450918.2023.2249422","url":null,"abstract":"This case study of the Dionysus ornament illustrates how the 1623 Shakespearean folio carries with it echoes of previous folio works as it reinterprets this image within its own context. The paper establishes the other Jaggard Press titles in which the headpiece appears to explore how these different contexts draw out the image’s semiotic potential. It notes an extreme uptick in use in Crooke’s Mikrokosmographia, an anatomical work in which urination and ejaculation feature prominently. Operating in tandem with the 1623 prefatory materials, the headpiece participates in the visual organisational logic of the Folio, structures the Folio’s establishment of generic variety, and introduces the volume-wide rhetorical strategy of reading Englishness within a global context. The woodcut’s synchronously urinating dogs also suggest a commentary on the communal bodily experience of live theatre. Having noted ways early modern printed folio projects can be mutually citational through ornaments, the paper discusses how the Shakespearean volume positions itself within the English inflection of classical single-author collected drama through the associations with Dionysus, patron god of drama, and Ben Jonson’s 1616 Workes. The conclusion considers the Second Folio’s adoption of the headpiece as part of the 1623 Folio’s iconic look.","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135741739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1080/17450918.2023.2253787
Alison Searle
"Imagining the Soul in Premodern Literature." Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2
“想象前现代文学中的灵魂”莎士比亚，先于印刷(先于印刷)，第1-2页
{"title":"Imagining the Soul in Premodern Literature","authors":"Alison Searle","doi":"10.1080/17450918.2023.2253787","DOIUrl":"https://doi.org/10.1080/17450918.2023.2253787","url":null,"abstract":"\"Imagining the Soul in Premodern Literature.\" Shakespeare, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135826689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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：