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Tytuł:
Additional Dialogue by…Versions of Shakespeare in the World’s Multiplexes
Autorzy:
Paterson, Ronan
Powiązania:
https://bibliotekanauki.pl/articles/648136.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare in film
cinema adaptation
genre adaptation
Shakespeare in multiplexes
Opis:
William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 53-69
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Modernity and Tradition in Shakespeare’s Asianization
Autorzy:
Yang, Lingui
Powiązania:
https://bibliotekanauki.pl/articles/648207.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
Asian tradition
modernity
Opis:
Do Marjorie Garber’s premises that Shakespeare makes modern culture and that modern culture makes Shakespeare apply to his reception in Asian contexts? Shakespeare’s Asianization, namely adaptation of certain Shakespeare elements into traditional forms of local cultures, seems to testify to his timelessness in timeliness. However, his statuses in modern Asia are much more complicated. The complexity lies not only in such a cross-cultural phenomenon as the Asianizing practice, but in the Shakespearization of Asia-the idealization of him as a modern cultural icon in a universalizing celebration of his authority in many sectors of modern Asian cultures. Yet, the very entities of Asia, Shakespeare, modernity, and tradition must be problematized before we approach such complexities. I ask questions about Shakespeare’s roles in Asian conceptions of modernity and about the relationship between his literary heritage and Asian traditions. To address these questions, I will discuss this timeliness in Asian cultures with a focus on Shakespeare adaptations in Asian forms, which showcase various indigenous approaches to his text-from the elitist legacy maintaining to the popularist re-imagining. Asian practices of doing Shakespeare have involved other issues. For instance, whether or not the colonial legacies and postcolonial re-inventions in the dissemination of his works in Asian cultures confirm or subvert the various myths about both the Bard and modernity in most time of the 20th century; in what ways Shakespeare has been used as at once a negotiating agent and negotiated subject in the processes of the prince’s translations and adaptations into Asian languages, costumes, landscapes, cultures and traditions.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 5-10
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Individualization and Oedipalization in Reza Servati’s Adaptation of William Shakespeare’s Macbeth: An Expressionist Reworking
Autorzy:
Javidshad, Mahdi
Powiązania:
https://bibliotekanauki.pl/articles/1812149.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Servati
adaptation
minimalism
Expressionism
Opis:
This article investigates Reza Servati’s Macbeth, an Iranian prize-winning adaptation of Shakespeare’s Macbeth, to discuss the way the adaptor prunes the source text aiming at presenting his distinctive reading of Shakespeare’s play. First, this study is concerned with the way Servati minimalizes the source text and how the process of minimalization serves the adaptor’s preoccupation with the psychological complexities of the characters. Second, it is discussed how Servati’s changes to the source text takes the Renaissance inclination for individualism a step forward. Third, it is argued that the individualism in Servati’s adaptation is aimed at Oedipalization of the play, an attempt that shows the influence of Freudian psychoanalysis. Finally, this article investigates the way Servati’s adaptation can be considered as an expressionist reworking of Shakespeare’s Macbeth by making the individualization of the plot subservient to the expression of the typical course that everyman goes through.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 127-142
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Moor for the Malayali Masses: A Study of<i>Othello</i>in<i>Kathaprasangam</i>
Autorzy:
Thomas, Sanju
Powiązania:
https://bibliotekanauki.pl/articles/647969.pdf
Data publikacji:
2016-06-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
kathaprasangam
Sambasivan
Othello
Desdemona
Opis:
Shakespeare, undoubtedly, has been one of the most important Western influences on Malayalam literature. His works have inspired themes of classical art forms like kathakali and popular art forms like kathaprasangam. A secular story telling art form of Kerala, kathaprasangam is a derivative of the classical art form, harikatha. It was widely used to create an interest in modern Malayalam literature and was often used as a vehicle of social, political propaganda. The story is told by a single narrator who masquerades as the characters, and also dons the mantle of an interpreter and a commentator. Thus, there is immense scope for the artist to rewrite, subvert and manipulate the story. The paper explores V. Sambasivan’s adaptation of Othello in kathaprasangam to bring out the transformation the text undergoes to suit the cultural context, the target audience and the time-frame of the performance. The text undergoes alteration at different levels-from English language to Malayalam, from verse to prose, from high culture to popular art. The paper aims at understanding how a story set in a different time and distant place converses with the essential local milieu through selective suppression, adaptation and appropriation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 105-116
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare in Chinese Cinema
Autorzy:
Wu, Hui
Powiązania:
https://bibliotekanauki.pl/articles/648128.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
film
Hamlet
Chinese cinema
Opis:
Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006-Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 71-81
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Revisiting the Classics and the New Media Environments: Shakespeare Re-Told by Jeanette Winterson, Margaret Atwood and Edward St. Aubyn
Autorzy:
Percec, Dana
Powiązania:
https://bibliotekanauki.pl/articles/648233.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
adaptation
Hogarth Shakespeare
media
performance
video game
Opis:
The versatility of the appropriation of Shakespeare in recent years has been witnessed in a variety of registers and media, which range from special effects on the stage, music, cartoons, comics, advertisements, all the way to video games. This contribution looks at some of the novels in the Shakespeare Re-told Hogarth series as effigies of the contemporary process of adapting the Elizabethan plays to the environments in which the potential readers/viewers work, become informed, seek entertainment and adjust themselves culturally, being, ultimately, cognitive schemes which are validated by today’s reception processes. The first novel in the series was Jeanette Winterson’s Gap of Time (2016), in which the Shakespearean reference to the years that separate the two moments of The Winter’s Tale’s plot becomes the title of a video game relying mainly on fantasy. Margaret Atwood’s Hag-Seed (2016) rewrites The Tempest as a parable of the theatrical performance and its avatars, as undisputable authority, on the one hand, and source of subversiveness, on the other. Dunbar (2018) is Edward St. Aubyn’s response to the family saga of King Lear, where kingship, territorial division and military conflict are replaced by modern media wars, and the issues of public exposure in the original text are reinterpreted interpreted by resorting to the impact of the audio-visual on every-day life.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 133-150
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions
Autorzy:
Nakatani, Mori
Powiązania:
https://bibliotekanauki.pl/articles/1033504.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare reception
adaptation
novelization
Shakespeare in Japan
„Hamlet”
Hideo Kobayashi
Opis:
Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 69-83
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Macbeth in Nineteenth-Century Bengal: A Case of Conflicted Indigenization
Autorzy:
Chaudhury, Sarbani
Sengupta, Bhaskar
Powiązania:
https://bibliotekanauki.pl/articles/648134.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Macbeth
Nagendranath Bose
colonial Bengal
adaptation
literary and linguistic communalism
Opis:
Adaptation, a complex bilingual and bicultural process, is further problematised in a colonial scenario inflected by burgeoning nationalism and imperialist counter-oppression. Nagendranath Bose’s Karnabir (1884/85), the second extant Bengali translation of Macbeth was written after the First War of Indian Independence in 1857 and its aftermath - the formation of predominantly upper and middle class nationalist organisations that spearheaded the freedom movement. To curb anti-colonial activities in the cultural sphere, the British introduced repressive measures like the Theatre Censorship Act and the Vernacular Press Act. Bengal experienced a revival of Hinduism paradoxically augmented by the nationalist ethos and the divisive tactics of British rule that fostered communalism. This article investigates the contingencies and implications of domesticating and othering Macbeth at this juncture and the collaborative/oppositional strategies of the vernacular text vis-à-vis colonial discourse. The generic problems of negotiating tragedy in a literary tradition marked by its absence are compounded by the socio-linguistic limitations of a Sanskritised adaptation. The conflicted nature of the cultural indigenisation evidenced in Karnabir is explored with special focus on the nature of generic, linguistic and religious acculturation, issues of nomenclature and epistemology, as well as the political and ideological negotiations that the target text engages in with the source text and the intended audience.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 11-27
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Staging Dystopian Communities: Reimagining Shakespeare in Selected English Plays
Autorzy:
Lachman, Michał
Powiązania:
https://bibliotekanauki.pl/articles/39762259.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
English Drama
adaptation
Edward Bond
Frank McGuinness
David Greig
Opis:
Among the countless afterlives of William Shakespeare’s playwriting there is a strong presence of his visions of state and political powers. In universal, philosophical ways Shakespeare was addressing issues concerning the state power, social organization, hierarchy, and rank in what inevitably were the origins of modern, capitalistic societies. Therefore, many of his powerful images resonate today in the works of contemporary writers who intend to compose stories of utopian or dystopian character which diagnose the condition of modern society. This article aims to present three plays by post-war English dramatists (Edward Bond’s Bingo, Frank McGuinness’s Mutabilitie, and David Greig’s Dunsinane) which reuse Shakespearian themes, motifs, or characters to build politically contentious and subversive plots within a narrower context of their specific cultures, societies, and historical periods. It is assumed that the Shakespearean legacy the writers engage with is not merely a dramatic text, but  a complex cultural structure of accumulated narratives, interpretations, and myths which contemporary dramatists rewrite and recycle. The aim of the article is to show how this multifaceted legacy of Shakespeare’s life and work helps build dystopian visions of contemporary communities or images of state and political justice. In other words, the article intends to analyse ways of visualizing modern societies through the palimpsestic presence of the Renaissance master.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 103-118
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
No Calm After the Storm. A Decade of "The Tempest" in Polish Theatres (2012–2021)
Autorzy:
Romanowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/39777196.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
'The Tempest'
Polish theatre
adaptation
theatre seasons 2012–2021
Opis:
The article discusses twelve productions based on The Tempest shown in Polish theatres in the years 2012-21, a decade whose challenges included escalation of the migration crisis, increasing climate change, social and political unrest around much of the globe, and the covid pandemic, but which was also marked by important Shakespearean anniversaries. In order to inspect the play’s significance for contemporary Polish audiences the productions are scrutinised in relation to four categories of interrelated issues: modification of characters, depiction of suspended reality connected with sleep, dreaming, memory and recollection, references to current social and political challenges, and employment of the play’s meta-artistic potential. The productions’ interpretative tendencies reveal a number of common denominators which are analysed with an aim of explaining why, in today’s Poland, the possibility of reconciliation and return to some form of re-established order that the playwright contemplates is seen as very difficult, if not impossible.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 209-225
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Shakespeare is a Finnish national poet:” Developing Finnish Shakespeare Scholarship from the Enlightenment to the Twentieth Century
Autorzy:
Southgate, Laina
Powiązania:
https://bibliotekanauki.pl/articles/39767933.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Global Shakespeare Studies
Finland
Adaptation
Translation
Imperialism
Colonialism
Sweden
Russia
Opis:
In this article, I will take up the idea of “origins” as it pertains to Finnish Shakespeare during Finland’s time as an autonomous Grand Duchy of Russia from 1809-1917. While not technically the beginning of Shakespearean performances, the late eighteenth and early nineteenth centuries are the beginning of the rhetorical use of Shakespeare in public discourse used to establish cultural sovereignty distinct from Sweden and Russia. Beginning with a brief overview of Shakespearean mentions in the latter half of the eighteenth century, I will analyse the public discourse found in Finnish literary journals and newspaper articles in the 1810’s and 20’s. Following an analysis of J. F. Lagervall’s 1834 Ruunulinna, I will then briefly track how shifting attitudes towards translations such as those found in J. V. Snellman’s writings influenced the emerging Finnish literary and theatre tradition, most notably with Kaarlo Slöör and Paavo Cajendar’s Shakespeare translations and the establishment of the Finnish Theatre in 1871. Finally, an analysis of Juhani Aho’s untranslated essay in Gollancz’ 1916 A Book of Homage to Shakespeare will highlight the legacy of prior Finnish Shakespearean traditions, while also highlighting the limits of translation. Ultimately, I suggest that Shakespeare was appropriated early on as an accessible figure of resistance in the face of Swedish linguistic supremacy and the increasing threat of Russian assimilation and oppression.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 107-123
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Domestication and Arabization of the Bard: Towards the Reception of Shakespeare in the Arab World
Autorzy:
Hassoon, Mohammed Naser
Powiązania:
https://bibliotekanauki.pl/articles/1812143.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
adaptation
Arabic
Arabization
cultural transfer
Khazal al-Majidi
repositioning
Shakespeare
translation
Opis:
Since Najib al-Haddad and Tanyusʻ Abdu’s first Arabic versions of Romeo and Juliet and Hamlet at the end of the 19th century, the reception of Shakespeare in the Arab world has gone through a process of adaptation, Arabization, and translation proper. We consider the process of Arabization / domestication of Shakespeare’s plays since Najib al-Haddad’s adaptation of Romeo and Juliet and Tanyusʻ Abdu’s adaptation of Hamlet, to the achievements of Khalīl Mutran and Muhammad Hamdi. We underline, as particular examples of Shakespeare’s appropriation, the literary response of Ali Ahmed Bakathir, Muhammad al-Maghut and Mamduh Udwan, with a particular stress on Khazal al-Majidi and his adaptations of Shakespeare’s plays. All these writers reposition Shakespeare’s plays in an entirely different cultural space.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 43-57
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Decentering the Bard: The Localization of "King Lear" in Egyptian TV Drama "Dahsha"
Autorzy:
Selim, Yasser Fouad
Powiązania:
https://bibliotekanauki.pl/articles/648305.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
King Lear
The Arab Shakespeare
Adaptation
Localization
Dahsha
Local Shakespeare
Global Shakespeare
Opis:
Dahsha [Bewilderment] is an Egyptian TV series written by scriptwriter Abdelrahim Kamal and adapted from Shakespeare’s King Lear. The TV drama locates Al Basel Hamad Al Basha, Lear’s counterpart, in Upper Egypt and follows a localized version of the king’s tragedy starting from the division of his lands between his two wicked daughters and the disinheritance of his sincere daughter till his downfall. This study examines the relationship between Dahsha and King Lear and investigates the position of the Bard when contextualized in other cultures, revisited in other locales, and retold in other languages. It raises many questions about Shakespeare’s proximity to the transcultural/transnational adaptations of his plays. Does Shakespeare’s discourse limit the interpretation of the adapted works or does it promote intercultural conversations between the varying worldviews? Where is the Bard positioned when contextualized in other cultures, revisited in other locales, and retold in other languages? Does he stand in the center or at the margin? The study attempts to answer these questions and to read the Egyptian localization of King Lear as an independent work that transposes Shakespeare from a central dominant element into a periphery that remains visible in the background of the Upper Egyptian drama.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 145-160
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”
Autorzy:
Tink, James
Powiązania:
https://bibliotekanauki.pl/articles/2048126.pdf
Data publikacji:
2021-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Jan Kott
grotesque
absurd
Macbeth
adaptation and appropriation
Macbeth, Macbeth
Ewan Fernie
the posthuman
Opis:
Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 71-85
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Re-reading the Archive: A 21st Century Re-appraisal of Kurosawa’s "The Bad Sleep Well" as a Modern "Hamlet"
Autorzy:
van Zon, Stan Reiner
Powiązania:
https://bibliotekanauki.pl/articles/39761617.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare reception
adaptation
Shakespeare in Japan
'Hamlet'
Kurosawa
'The Bad Sleep Well'
Shakespeare in film
Opis:
Among Japanese film director Kurosawa Akira’s three Shakespeare films, Throne of Blood (1957), Ran (1985), and The Bad Sleep Well (1960), the latter has been relatively ignored in Anglophone Shakespeare criticism. This article investigates the Anglophone reception of The Bad Sleep Well and argues in favor of its re-appraisal as a Hamlet. On reception, it examines three explanations for the neglect: its modern setting, its deconstructive adaptation, and its cinematic quality. Considering the latter unconvincing, the article posits that the first two were only detrimental to the film’s reception because they respectively did not conform to Western expectations of essentially pre-modern ‘Oriental’ Japan and of ‘straight’ canonical Shakespeare. Considering changed attitudes in Shakespeare studies, neither of these should still be held against the film. On re-appraisal, The Bad Sleep Well may be reread in the 21st century as part of our continuing memory of our global Shakespeare discourse. Centering on the film’s innovative presentation of Claudius and The Mousetrap, the article argues for the porous border between ‘straight’ production and ‘crooked’ adaptation, and the value to the tradition of oblique approaches to familiar scenes and characters. By arguing for The Bad Sleep Well as a Hamlet worthy of study, the article furthers discussion on archival silences and new rhizomatic models of global Shakespeare that seek to move past the more reductive qualities of the ‘national Shakespeares’ mode of discourse that dominated in the 1990s and 2000s.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 41-59
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
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