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Tytuł:
Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"
Autorzy:
Laskowska-Hinz, Sabina
Powiązania:
https://bibliotekanauki.pl/articles/1033498.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Desdemona
William Shakespeare
Othello
Marian Nowiński
Shakespeare in visual arts
Opis:
The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 135-151
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira
Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare
Autorzy:
Śliwińska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1039093.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
William Shakespeare
Upstart Crow
Shakespeare in Love
biography
biographism
mystification
deception
Opis:
Śliwińska Anna, Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira [Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 323–339. ISSN 1644-6763. DOI 10.14746/pt.2019.32.17. The article focuses on two productions (the TV series Upstart Crow and the feature film Shakespeare in Love), which present the life of the famous playwright in an unusual way. It also looks at matters related to the practice of writing biographies of famous people, as well as biographism, which is treated by the makers of the aforementioned productions in a deceptive and hypothetical way. Finally, the question is asked regarding the function of deception and mystification, which were consciously used in the process of creating Shakespeare’s biographies in the two examples analysed.
Źródło:
Przestrzenie Teorii; 2019, 32; 323-339
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Not For An Age, But For All Time:” Autobiography and a Re-origin of Shakespeare Studies in Canada
Autorzy:
Solá Chagas Lima, Eduardo
Thompson, Julie
Powiązania:
https://bibliotekanauki.pl/articles/39766257.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
Shakespeare studies
Autobiographical theory
Canadian English curriculum
Secondary school
Literature
Opis:
Despite independence as a country, Canada belongs to the Commonwealth and has deep colonial roots and the British educational system was key in creating Canadian curricula. Given the centrality of Shakespeare’s work in the British literary canon, it follows that it would also figure heavily in the academic requirements for Canadian students. At the dawn of the Confederation (1867), the high school curriculum used Shakespeare to emphasize a “humanist” approach to English literature using the traditional teaching methods of reading, rhetoric, and recitation. Presently, Shakespeare continues to be the only author in the high school curriculum to whom an independent area of study is dedicated. The origin of Shakespeare in Canada through curriculum and instruction is, thus, a result from the canonic tradition imported from Britain. This traditional model no longer fits the imperative of multiculturalism, as reflected in the Canadian Constitution Act (1982). Yet, with the appropriate methodology Shakespeare’s texts can be a vehicle for multiculturalism, social justice, and inclusivity. In light of recent disillusionments concerning the relevance of Shakespearean texts in high school curricula, this paper proposes an alternative pedagogical approach that envisages changing this paradigm and fostering a re-origin of Shakespeare studies in Canada through an intentional pedagogical process grounded in individual experience. Scholarship has highlighted the importance of autobiographies in the learning process and curriculum theorists William Pinar and Madeleine Grumet designed a framework that prioritizes individual experience. Our approach to teaching Shakespeare’s works aligns with the four steps of their currere method, presented as: (1) contemplative, (2) translational, (3) experiential, and (4) reconceptual, fostering an opportunity for self-transformation through trans-historical social themes present in the text. The central argument is that Shakespeare’s text can undergo a re-origin when lived, given its initial conception as embodied, enacted narrative in the early modern period. In this method, students immerse themselves in Shakespeare’s text through films and stage productions and then manifest their interpretations by embodying the literature based on their autobiographical narratives. To undergo a re-origin in the Canadian secondary curriculum, current pedagogical approaches to teaching Shakespeare require a paradigm shift.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 161-177
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Progress of Evil and the Return of Justice in Shakespeare’s Richard III
Autorzy:
Guyette, Fred
Powiązania:
https://bibliotekanauki.pl/articles/888734.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
William Shakespeare
tragedy
tyranny
politics
justice
Opis:
Shakespeare’s Richard III is a warning about the danger of tyrannical political leaders. Richard has no legitimate claim to the throne, but he devises his own way to achieve that goal. All along the path he follows, he leaves a trail of dead bodies. Richard becomes a fratricidal, child-murdering, Machiavellian usurper, who takes delight in breaking nearly every one of God’s commandments. This essay traces the progress of evil in Richard III under the following rubrics: (1) Ambition and The Tactics of Deception, (2) The Erosion of Conscience, (3) The Deeds of a Tyrant, (4) The Return of Justice, and (5) Implications for an Education in Political Theory.
Źródło:
Anglica. An International Journal of English Studies; 2015, 24/1; 83-96
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“I see it in my motion, have it not in my tongue”: The Slavic Sounds of Shakespeare Translations
Autorzy:
Cetera-Włodarczyk, Anna
Powiązania:
https://bibliotekanauki.pl/articles/888951.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
William Shakespeare
Slavic translations
organic poetry
Opis:
The paper sets to explore the specificity of the Slavic translations of Shakespeare with some special emphasis on the prosodic features of Slavic languages. Preceded by a general discussion of the sounds and rhythms of Slavic languages, the paper presents the historical overview of the translations strategies used by translators to deal with the challenges of Shakespeare’s iambic pentameter. Here some of the most important shaping factors are discussed such as the pressure of the Neoclassical and Romantic models or the influence of Schlegel’s doctrine of organic poetry. Secondly, the paper accounts for the establishment of the national canons of Shakespeare’s translations and their impact on the subsequent attempts at translation.
Źródło:
Anglica. An International Journal of English Studies; 2016, 25/3; 119-131
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare and the Demonization of Fairies
Autorzy:
Spyra, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/641669.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
fairies
Protestant Reformation
Thomas Hobbes
Opis:
The article investigates the canonical plays of William Shakespeare - Hamlet, Macbeth, A Midsummer Night’s Dream and The Tempest - in an attempt to determine the nature of Shakespeare’s position on the early modern tendency to demonize fairy belief and to view fairies as merely a form of demonic manifestation. Fairy belief left its mark on all four plays, to a greater or lesser extent, and intertwined with the religious concerns of the period, it provides an important perspective on the problem of religion in Shakespeare’s works. The article will attempt to establish whether Shakespeare subscribed to the tendency of viewing fairies as demonic agents, as epitomized by the Daemonologie of King James, or opposed it. Special emphasis will also be put on the conflation of fairies and Catholicism that one finds best exemplified in Thomas Hobbes’ Leviathan. The article draws on a wealth of recent scholarship on early modern fairies, bringing together historical reflection on the changing perception of the fairy figure, research into Shakespeare’s attitude towards Catholicism and analyses of the many facets of anti-Catholic polemic emerging from early modern Protestant discourse.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2017, 7; 194-213
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Praca nad rolą - Ryszard III*
Working on the role –Richard III
Autorzy:
KAŁUŻYŃSKI, MAREK
Powiązania:
https://bibliotekanauki.pl/articles/920949.pdf
Data publikacji:
2016-11-03
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
actor
stage role
director
William Shakespeare
translation
Opis:
The author describes the contexts for working on the title role of Shakespeares Richard III. He points to specific stages in working on the role: familiarising oneself with the original text and associated literature (research), creating the character (concealing intentions, plans and emotions from other characters in the play, the characters internal struggle, perceiving psychological truths); developing relationships with the director and other actors; the use of scenography, costumes, lighting and music to create characters for the stage, considering the meaning of translation and rapport with the audience.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 211-230
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Crack in the Shell: Reading a Few Lines from King Lear
Autorzy:
Sławek, Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/888875.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
William Shakespeare
King Lear
violence and justice
Opis:
The article takes up the theme of Agamben’s violence without a form of justice and reads Shakespeare’s tragedy as spanned between Cordelia’s “nothing” at the start of the play and Lear’s “never” at its end. It also approaches a question of the relationship between, in Rousseau’s word, “l’homme naturel” and “citoyen.” Lear’s push towards a position of being “unaccommodated” suggests a move away from the organization of life previously holding its rule over men towards a marginal, peripheral zone with uncertain rules where man has to risk his own decisions rather than merely follow the custom.
Źródło:
Anglica. An International Journal of English Studies; 2016, 25/3; 11-36
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
«Wymawia się Szekspir»: Mistrzowi Williamowi w czterechsetną zgonu jego rocznicę
‘It Is Pronounced Shek-speer’: For Master William on the Quadricentennial of His Demise
Autorzy:
Komorowski, Jarosław
Powiązania:
https://bibliotekanauki.pl/articles/29520056.pdf
Data publikacji:
2016-09-30
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
William Shakespeare
Wojciech Bogusławski
przekład
recepcja Shakespeare'a
teatr polski 1700-1800
teatr polski 1800-1900
translation
reception of Shakespeare
Polish theater 1700–1800
Polish theater 1800-1900
Opis:
Wojciech Bogusławski poprzedził pierwodruk swojego przekładu Hamleta, umieszczonego w czwartym tomie Dzieł dramatycznych, przedmową zatytułowaną „Shakespeare", w której w przypisie zdradził: „Wymawia się Szekspir". W ciągu prawie stu lat pisownia nazwiska dramaturga ze Stratfordu w Polsce wahała się między tymi dwoma skrajnościami: „Shakespeare" lub starsza wersja „Shakespear" z jednej strony i jakaś forma polskiego zapisu fonetycznego, najbardziej rozpowszechniona – i w końcu zwycięska – „Szekspir" z drugiej. Pomiędzy tymi biegunami w latach 1765–1849 pojawiło się w polskich drukach i rękopisach co najmniej 40 (słownie czterdzieści) wariantów zapisu, angielskich, niby-angielskich, bardziej lub mniej fonetycznych i na różne sposoby hybrydowych. Większość wariantów to próby autorów i redaktorów zapisania lub „oswojenia” nazwiska autora Hamleta w języku polskim. Zawarta w artykule lista, publikowana w tej formie po raz pierwszy, jest ułożona chronologicznie. Każdy przypadek pierwszego użycia jest cytowany i opatrzony zwięzłym komentarzem. Lista jest jednak potencjalnie niekompletna, ponieważ odnalezienie kolejnych wersji nie jest wykluczone.
Wojciech Bogusławski prefaced the first publication of his translation of Hamlet, included in volume four of his Dzieła dramatyczne (Dramatic Works), with an introduction titled “Shakespeare,” where he volunteered in a footnote: “It is pronounced Szekspir [Shek-speer].” Within the period of almost one hundred years, the spelling of the Stratford playwright’s name in Poland vacillated between these two extremes: “Shakespeare,” or the older version of “Shakespear,” on the one hand, and some form of Polish phonetic spelling, the most widespread—and at the end, prevalent—being “Szekspir,” on the other. Polish prints and manuscripts from 1765–1849 contain at least forty spelling variants ranging from English and pseudo-English to more or less phonetic versions, with numerous hybrid solutions in between. Most of the variants are attempts by Polish authors and editors at making the name of Hamlet’s author more familiar in Polish. The present list, published as such for the first time, is arranged chronologically. Each instance of the first usage is quoted and a succinct commentary is supplied.  The list is potentially incomplete, however, since other versions might crop up in future research. 
Źródło:
Pamiętnik Teatralny; 2016, 65, 3; 5-24
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Peter Brook, Wolność i łaska. Rozważania o Szekspirze, przekł. Agnieszka Pokojska, słowo / obraz terytoria, Gdańsk 2014.
Autorzy:
Rogoziński, Arkadiusz
Powiązania:
https://bibliotekanauki.pl/articles/32083673.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Peter Brook
William Shakespeare
Wolność i łaska: Rozważania o Szekspirze
«The Quality of Mercy: Reflections on Shakespeare»
Opis:
Tekst stanowi recenzję najnowszej książki Petera Brooka wydanej w języku polskim Wolność i łaska: Rozważania o Szekspirze (The Quality of Mercy: Reflections on Shakespeare). Autor  recenzji skrupulatnie i chwilami wnikliwie, rozdział po rozdziale, podąża za reżyserem, analizując jego refleksje. Akcentuje kluczowe pytania i problemy stawiane przez Brooka, który przez siedemdziesiąt lat prowadził twórczy dialog z dziełem Stratfordczyka, konfrontował je z życiem, rzeczywistością polityczną i społeczną, a przede wszystkim z praktyką teatralną. Wnioski, którymi angielski reżyser wieńczy książkę – zdumiewające i olśniewające zarazem swoją prostotą i głębią, stanowią dla recenzenta punkt wyjścia do sformułowania własnych wątpliwości i postawienia samodzielnych już pytań. Recenzję wieńczą pytania, otwierające obszar dla pogłębionej dyskusji: Czy w chrześcijańskim świecie teatr może mieć inne przeznaczenie niż to, które wymyślili dla niego starożytni Grecy? Czy wolność, łaska i quality [terminy Szekspirowkie szczegółowo analizowane przez Brooka] mogłyby kiedyś zastąpić litość i trwogę?
A book review of the Polish translation of The Quality of Mercy: Reflections on Shakespeare by Peter Brook. The reviewer thoroughly, chapter after chapter, follows the director’s argument, analysing his reflexions. He emphasises the key questions and problems posed by Brook, who has grappled with Shakespeare’s work and confronted it with real life, the political and social reality, and most of all, with theatrical practice for the last seventy years. The conclusions reached by the author by the end of the book, as brilliant and amazing as they are in their profoundness and simplicity, serve Arkadiusz Rogoziński as a starting point for his own doubts and questions. The review ends with the questions that open up room for further discussion: Is it possible for the theatre of the Christian world to have some other meaning than that invented by the ancient Greeks? Will freedom, mercy, and quality—the Shakespearean terms analysed by Brook in detail—ever be able to replace pity and fear?
Źródło:
Pamiętnik Teatralny; 2017, 66, 1/2; 316-323
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Gospel of Divine Mercy in King Lear
Autorzy:
Grzegorzewska, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/2032701.pdf
Data publikacji:
2021-11-22
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
King Lear
gift
mercy
forgiveness
Opis:
The paper discusses Shakespeare’s preoccupation with the Christian notions of divine love, forgiveness and justice in The Tragedy of King Lear. In my reading I employ Jean-Luc Marion’s phenomenological reflection on the givenness of love and Hans-Urs von Balthasar’s theology of Paschal mystery. I take issue with the Marxist and existentialist interpretations of Shakespeare’s tragedy which prevailed in the second half of the $20^{th}$ century. My aim is not a simple recuperation of the “redemptionism” of the play, but an in-depth consideration of Christian allusions in the play which may tie love and forgiveness to justice and throw light on the ending of King Lear.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2021, 11; 321-333
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Art of Tale-Telling in William Shakespeare’s The Tempest
Autorzy:
Kaczyński, Daniel
Powiązania:
https://bibliotekanauki.pl/articles/889062.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
William Shakespeare
tragicomedy
tale-telling
narrative reliability
Opis:
The author draws attention to the fact that in William Shakespeare’s plays characters tell their stories and tales with varying degrees of credibility. In his paper he makes an attempt to reconstruct the actual circumstances of both the storm and shipwreck in The Tempest by analysing all the relevant accounts in the play. While investigating the reliability of the characters’ narratives, the author suggests that Ariel is a spirit whose report of the raised tempest and subsequent shipwreck is partly a trustworthy account and partly a fictitious and misleading tale, which is demonstrated in the course of comparing his words with the other characters’ assertions of what happened in the initial storm.
Źródło:
Anglica. An International Journal of English Studies; 2015, 24/1; 97-107
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’Inde dans la mise en scène des chefs-d’oeuvre européens d’Ariane Mnouchkine
India in Ariane Mnouchkine’s Staging of European Masterpieces
Autorzy:
Hasiuk, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/648575.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Théâtre du Soleil
Aeschylus
Euripides
William Shakespeare
kathakali
-
Opis:
The text discusses influences and oriental inspirations, mainly Indian and Japanese, present in the staging of Shakespeare’s plays (Richard II, Henry IV, Part I and Twelfth Night), Euripides (Iphigenia at Aulis) i Aeschylus (Oresteia) in the Théâtre du Soleil. Owing to the incorporation of ‘the imagined orient’ in the Shakespearean cycle, Mnouchkine evoked the image of the world immersed in the supernatural. Placing Iphigenia at Aulis before Oresteia, the director created her own tetralogy. Consciously applying staging strategies, she did not use Greek documents but instead combined documentation from Turkey and the Caucasus with oriental traditions such as kathakali and bharata-natyam. Drawing on references which were unknown (or long since forgotten) and never before used, she staged ‘probably the richest and the most satisfactory of all productions of Athenian tragedies’ (Ubersfeld).
-
Źródło:
Collectanea Philologica; 2016, 19; 77-90
1733-0319
2353-0901
Pojawia się w:
Collectanea Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O przemieniającym życie mroku postaci
On the darkness of the character that transforms life
Autorzy:
WIERZCHOWSKI, MARCIN
Powiązania:
https://bibliotekanauki.pl/articles/920976.pdf
Data publikacji:
2016-11-03
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
theatre role
actor
acting skills
William Shakespeare
director
Opis:
The author analyses the relationship between the actor's life and the character they create on stage. He points to the interdependencies between the actor and their role. He determines the conditions in which the role should be constructed and also discusses the on- and off-stage circumstances that determine the value of a particular role. This analysis is supported by the authors own experience as a theatre director.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 47-60
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History
Autorzy:
Fabiszak, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/888889.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
William Shakespeare
Hamlet
Macbeth
Andrzej Wajda
Polish theatre productions
Opis:
Andrzej Wajda is a renown Polish theatre and film director, whose achievements have been recognised by theatre and film artists and critics all over the world (he has been awarded an Oscar). He has directed four versions of Hamlet and two versions of Macbeth (one for Polish television in 1969, the other for the Stary Theatre in Kraków in 2004). I propose to look at three productions to trace Wajda’s evolution in his approach to Shakespearean tragedy: Hamlet III, scenes of which were first staged in the Royal Castle of Wawel in Cracow, and then at the Stary Theatre in 1981. It was a Hamlet which addressed significant Polish problems (Wawel being a symbol of Poland, its historical power, the seat of the powerful Jagiellonian dynasty).1 The context of the production is also very significant: the time of the Solidarity festival, as it is now called in Poland (on 13 December 1981 martial law was introduced in Poland), so the performance could not help avoiding political issues. The director’s next take at Hamlet (his fourth attempt) occurred in 1989, another critical year in the Polish post-war history; surprisingly enough, the production was not so much Poland-oriented or politically involved as the previous version; instead Wajda poses questions about the condition of theatre in Poland and anticipates a less pressing need for politicising theatrical performances in the years to come. His Macbeth in turn was produced at the time of Poland’s engagement in the war on terrorism in Iraq; modern war of the ‘civilised world’ becomes a most significant frame for the production, but not the only one. The performance, showing the Macbeths as an elderly couple who are confronted with possibly the last chance to make a difference in their life, touches upon both getting old and a long-term marriage.
Źródło:
Anglica. An International Journal of English Studies; 2016, 25/3; 97-106
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
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