Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Shakespeare" wg kryterium: Temat

  Lista filtrów
Wyrównaj
Wyświetlanie 1-15 z 23
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
Tytuł:
“You have served me well:" The Shakespeare Empire in Central Europe
Autorzy:
Drábek, Pavel
Powiązania:
https://bibliotekanauki.pl/articles/39778311.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare in Europe
travelling actors
Shakespeare in performance
Shakespeare in translation
adaptation
historiography
logocentrism
decolonisation
recrafting
Opis:
Shakespeare has often served as an instrument of cultural colonialism. In this essay I argue that the current practice of Shakespeare studies in many ways replicates this pattern. By priming the discourse through Shakespeare, it perpetuates logocentric regimes of knowledge that tend to impose reductive perspectives—such as the binaries of Shakespeare’s original–adaptation and that of the author–adapter, but also scripture–exegesis, London–province or London–Continent, centre–periphery and empire–colonial subjects. Drawing on case studies from five centuries—of sixteenth- and seventeenth-century travelling performers, through eighteenth-century German theatre, to twentieth- and twenty-first-century writing and performance, I argue for a need to revisit the logocentric and colonial epistemology. I call for breaking away from the critical heritage of the “Shakespeare Empire,” for reconceptualising how we use Shakespeare, and for refocusing our critical attentions to the thick descriptions of cultures and crafts that make and host Shakespeare.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 109-140
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:
“Tales from Shakespeare” Charlesa i Mary Lambów. Transpozycja intersemiotyczna dramatów Szekspirowskich – jej przyczyny, metody i konsekwencje
“Tales from Shakespeare” by Charles and Mary Lamb. Intersemiotic Transposition of Shakespeare’s Plays – Its Reasons, Methods and Consequences
Autorzy:
Pruszak, Michał
Powiązania:
https://bibliotekanauki.pl/articles/545271.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Gdański. Wydział Filologiczny
Tematy:
literature for children
Shakespeare
Tales from Shakespeare
Charles and Mary lamb
adaptation
narration
Opis:
Tales from Shakespeare by Charles and Mary Lamb (1809) is one of the earliest examples of Shakespeare’s plays transformed into texts dedicated to the young readers. The procedures, which the authors used during the transposition of the works of Shakespeare, have become commonplace for this kind of activities and are noticeable even today – not only in the case of literary adaptations. The Lambs’ book consists of twenty short tales based on Shakespeare’s plays. This article’s aim is to discuss a few aspects of Lambs’ work: what the main aim the authors wanted to achieve was, how they referred to the perceptual abilities of the children and to the zeitgeist of nineteenth-century England, what tools they used to succeed – and what the effects of Lambs’ project were.
Źródło:
Jednak Książki. Gdańskie Czasopismo Humanistyczne; 2017, 7; 111-132
2353-4699
Pojawia się w:
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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:
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:
Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet
Autorzy:
Minier, Márta
Powiązania:
https://bibliotekanauki.pl/articles/647983.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare reception
Shakespeare translation
retranslation
Hamlet
Shakespeare in Hungary
drama translation
Ádám Nádasdy
intersemiotic translation
adaptation
structural transformation
performance as translation
multimedia performance
performan
Opis:
This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 89-108
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Z Szekspirem w tle. "Opowieść zimowa" Erica Rohmera
With Shakespeare in the background. Eric Rohkers "A Tale of Winter"
Autorzy:
Kowalski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/918029.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Eric Rohmer
Shakespeare
adaptation
plot
structure
Opis:
The paper aims at analyzing the relationship between Eric Rohmer’s A Tale of Winter (Conte d’hiver, 1992) and Shakespeare’s late comedy. Although both works are entitled similarly, at first glance they have hardly anything in common, aside from one scene in which the two main characters watch Shakespeare’s play staged in a theatre. The author argues, however, that many references to original comedy, both on the level of plot and structure, can be found in Rohmer’s movie, which can therefore be perceived as a loose adaptation of Shakespeare’s work. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 295-301
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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:
Looking for Lear in Dennis Kelly’s "The Gods Weep"
Autorzy:
Wieczorek, Maciej
Powiązania:
https://bibliotekanauki.pl/articles/504685.pdf
Data publikacji:
2016
Wydawca:
Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
Tematy:
The Gods Weep
Dennis Kelly
Shakespeare
adaptation
appropriation
Opis:
First staged by the Royal Shakespeare Company in 2010, Dennis Kelly’s The Gods Weep is an attempt to update the well-known story of King Lear to contemporary times. It focuses on Colm, an aging CEO who decides to divide his company evenly between two of his employees at the price of his only son’s share, a decision that results in escalating a bloody conflict that tears apart the business empire. Despite featuring an all-star cast and having the full support of the RSC, The Gods Weep received mixed to wholly negative reviews and was criticized for being chaotic, lengthy and not faithful enough to the masterpiece of the Bard. The present article addresses the problems raised by the critics and attempts to demonstrate that their responses were largely misguided, as most of them failed to recognize the full complexity of what they were dealing with. Thus the paper first shows that Kelly’s play is not merely a response to King Lear but, rather, a bricolage that recycles Akira Kurosawa’s Ran and Sarah Kane’s Blasted as well as a number of other works. The article then suggests that The Gods Weep is not an adaptation but an appropriation, as it shifts the political thrust of the hypotext and bears a mark of Kelly’s in-yer-face sensibility. Finally, the contribution argues that, given the range of sources that are being recycled, the play should not be viewed as an appropriation of a single text. Building on the concept of the “work” as formulated in Margaret Jane Kidnie’s Shakespeare and the Problem of Adaptation, I suggest that The Gods Weep should be viewed in the context of all texts which may be subsumed under what I call the “Lear type.”
Źródło:
Academic Journal of Modern Philology; 2015, 4; 135-143
2299-7164
2353-3218
Pojawia się w:
Academic Journal of Modern Philology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Szekspir w animacji. Filmowe adaptacje dramatów w kontekście młodego widza
Autorzy:
Pruszak, Michał
Powiązania:
https://bibliotekanauki.pl/articles/2050209.pdf
Data publikacji:
2014-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Shakespeare
dramatic works
adaptation
fi lm
animation
cartoon
young viewer
Opis:
With the passage of time William Shakespeare’s dramatic works became a great inspiration to artists from the area of popular culture. The bard’s masterpieces are often used by filmmakers, including those who create animated movies. The Shakespearian motifs can appear in animated movies in many different ways: starting from accurate adaptations, through movies just slightly inspired by the plot of the dramatic works, ending up with films that refer only to particular characters or popular scenes from the plays. The elements of Shakespearian works may serve as an inspiration for completely new stories, they may also act as an insignificant quirkiness or as a sign of intellectual curiosity. This article’s aim is to discuss the advantages and disadvantages of the animated adaptations of Shakespeare’s plays, indicated for young viewers. On the one hand the techniques used by animators give a chance to find new visual expression of the bard’s plays and let us watch well-known, classic stories in a modern context. On the other hand – what is confirmed by the survey presented in this article – casual approach to Shakespeare’s works, instead of bridging the gaps between the dramatist and young participants in media and culture, may increase the distance between them.
Źródło:
Kultura i Edukacja; 2014, 3(103); 75-93
1230-266X
Pojawia się w:
Kultura i Edukacja
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
Wyświetlanie 1-15 z 23

Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies