Temat: post-theatre - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: “The Many Languages of the Avant-Garde”: In conversation with Grzegorz Bral of Teatr Pieśń Kozła (Song of the Goat Theatre)
Autorzy:: Sakowska, Aleksandra
Powiązania:: https://bibliotekanauki.pl/articles/648105.pdf
Data publikacji:: 2014-12-01
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: avant-garde theatre
intercultural theatre
Jerzy Grotowski
Gardzienice
globalisation
the global versus the local
post-colonialism
Western culture
montage
post-dramatic theatre
utopian primitivism
intertextuality
text
adaptation
Opis:: How to theorise and review avant-garde Shakespeare? Which theoretical paradigms should be applied when Shakespearean productions are multicultural and yet come from a specific locale? These and other many questions interrogating the language of performance in global avant-garde Shakespeare productions are put forward to Grzegorz Bral, the director of the Song of the Goat ensemble in the context of their evolving performance of Macbeth (2006/2008) and their Songs of Lear (2012).
Źródło:: Multicultural Shakespeare: Translation, Appropriation and Performance; 2014, 11; 45-63
2083-8530
2300-7605
Pojawia się w:: Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: “Thou art translated”: Remapping Hideki Noda and Satoshi Miyagi’s A Midsummer Night’s Dream in Post-March 11 Japan
Autorzy:: Eglinton, Mika
Powiązania:: https://bibliotekanauki.pl/articles/648162.pdf
Data publikacji:: 2016
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: translation
adaptation
translingual theatre
Fukushima
earth-quake
Post-March 11
Hideki Noda
Satoshi Miyagi
Shakespeare in Japan
Opis:: Ever since the first introduction of Shakespeare to a Japanese audience in the nineteenth century, his plays have functioned as “contact zones,” which are translingual interfaces between communities and their cultures; points of negotiation, misunderstanding and mutual transformation. In the context of what is ostensibly a monolingual society, Japanese Shakespeare has produced a limited number of performances that have attempted to be multilingual. Most of them, however, turn out to be translingual, blurring the borders of linguistic specificity. As an example of this, I read A Midsummer Night’s Dream as adapted by Hideki Noda originally in 1992 and then directed by Miyagi Satoshi for the Shizuoka Performing Arts Centre in 2011. Drawing on my experience as the surtitle translator of Noda’s Japanese adaptation “back” into English, I discuss the linguistic and cultural metamorphosis of Noda’s reworking and the effects of its mediation in Miyagi’s rendition, and ask to what extent the production, adapted in post-March 2011 Japan, can be read as a “contact zone” for a translingual Japanese Shakespeare. In what way did Miyagi’s reading of the post-March 11 events inflect Noda’s adaption along socio-political lines? What is lost and gained in processes of adaptation in the wake of an environmental catastrophe?
Źródło:: Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 51-72
2083-8530
2300-7605
Pojawia się w:: Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:: Biblioteka Nauki

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