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Wyświetlanie 1-7 z 7
Tytuł:
The Poetics of Body: Representing Cultural Imaginations in Yang Jung-Ung’s "A Midsummer Night’s Dream"
Autorzy:
Choi, Boram
Powiązania:
https://bibliotekanauki.pl/articles/39760509.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
'A Midsummer Night’s Dream'
Korean Shakespeare
poetics
Yang Jung- Ung
Yohangza Theatre Company
Opis:
This article explores the psychology that motivates Yang Jung-Ung and his actors in the process of translating Shakespeare’s A Midsummer Night’s Dream into a Korean style. By focusing on the ways of showing the theme of the play in modern styles fused with traditional modes of theatrical practice, the director attempts to develop his own ways of expression to communicate with the modern Korean audience. In this process, Yang reconstructs the dialogues between the characters rather than rely heavily on Shakespeare’s text and language. For this reason, his production has often been criticised for missing Shakespeare’s poetry. However, the beauty of poetry is not only in Shakespeare’s language itself, but rather it is in the mental process of how the artist and audiences understand and translate its meaning in their cultural contexts. Shakespeare’s language includes a great deal of imagery that provides the artists with concrete information for constructing the stage mise-en-scène. In Yang’s production, Shakespeare’s poetry is expressed through the visual images created by the performer’s physical bodies, which reflects the director’s interpretation of the play in his cultural context. By analysing the performers’ physical movements, this article studies how Yang perceives the theme of Shakespeare’s Dream in relation to a Korean cultural context and presents his unique vision on the play.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 75-94
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Original Pronunciation and the United States: The Case of A Midsummer Night’s Dream by Paul Meier (2010, 2012)
Autorzy:
Russo, Emiliana
Powiązania:
https://bibliotekanauki.pl/articles/27177647.pdf
Data publikacji:
2022
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
Original Pronunciation
Theatrical production
Radio production
Paul Meier
A Midsummer Night's Dream
Shakespeare Studies
Transatlantic American Studies
Opis:
In 2004 Romeo and Juliet in Original Pronunciation (OP) was staged at Shakespeare’s Globe, inaugurating what Crystal would later define the OP movement (2016) - a movement aiming to restore the original sound of both the literary and non-literary works of the past. While academic literature suggests an irregular theatrical interest in the Shakespearean OP in the UK, it also demonstrates that such restoratory projects have proven increasingly appealing to the US audiences. The reasons why the North American theater goers' are attracted to the Shakespearean OP remain unclear. Based on a qualitative analysis of interviews with Paul Meier, the director of the theatrical and radio production A Midsummer Night’s Dream (2010, 2012) and two of his cast members, and complementing the findings with the study of promotional and non-promotional articles concerning the productions, this paper aims to shed light on the rationale behind the North American fascination with the Shakespearean OP. As Meier’s reflections gravitate towards the identity of the US as a former British colony, this study, relying extensively on literature review, is carried out both through the lens of literary/cultural history and of historical linguistics. Finally, though limited in its scope, this paper intends to pave the way for further studies on the relationship between the allure of the OP and the US culture, and thereby  to enrich the area of investigation concerning Shakespeare's reception in the US and his role in the American culture.
Źródło:
Review of International American Studies; 2022, 15, 2; 211-231
1991-2773
Pojawia się w:
Review of International American Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From Race and Orientalism in A Midsummer Night’s Dream to Caste and Indigenous Otherness on the Indian Screen
Autorzy:
Jayakumar, Archana
Powiązania:
https://bibliotekanauki.pl/articles/39761975.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
A Midsummer Night’s Dream
10ml Love
Indian cinema
independent film
film adaptation
race
Orientalism
Otherness
caste
religion
gender
class
utopia in film
Opis:
The article discusses an Indian film adaptation of William Shakespeare’s play A Midsummer Night’s Dream entitled 10ml Love (dir. Sharat Katariya, 2012). There is little scholarship on 10ml Love, which has been studied mainly as an independent film in Hinglish that depicts the lives of the cosmopolitan youth in urban India. Drawing upon recent readings of the play that identify elements of racism and whiteness as well as an analysis from an Orientalist lens that sees India as a gendered utopia, I suggest that the film adaptation highlights not racial/white supremacy but caste supremacy; furthermore, it indulges not in Orientalist tropes but tropes of indigenous Otherness based on religion, gender, caste, and class. I argue that this film presents two opposing political utopias—a right-wing utopia that stands for the maintenance of traditional values and a left-wing utopia that attempts to challenge, question, and subvert the conservative order. However, 10ml Love seems to endorse neither of the two utopias wholly; its reality appears to lie between the two utopias, a reality that is marked by stereotypes of Otherness. This paper analyses the audio-visual depiction of the tension between the utopias at both the ends of the political spectrum, as well as the realities of Otherness created by the presence of various social locations and identities in Indian society.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 87-102
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Cicha wiedza Hippolity – Sen nocy letniej w lekturze René Girarda
Hippolyta’s Silent Knowledge: René Girard’s Reading of A Midsummer Night’s Dream
Autorzy:
Wielechowska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/1807379.pdf
Data publikacji:
2020-01-02
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
antropologia kultury
teatrologia
dramat szekspirowski
mimesis
ironia
metateatr
cultural anthropology
theatre studies
Shakespearean drama
irony
metatheatre
Opis:
The article centres upon the phenomenon of mimetic desire which, as Rene Girard observes, is responsible for generating violence in the cultural and social sphere. In Girard’s view, William Shakespeare saw and documented the correlation between mimesis and violence, which makes his dramatic œuvre an essentially important text of culture. And A Midsummer Night’s Dream in particular is granted special attention; Girard clearly suggests that it should be an obligatory reading for all modern anthropologists. The article concerns an analysis of Girard’s revelatory reading of the play. It appears that the mimetic process is the thematic and constructional axis of dramatic events; furthermore, it is manifested in numerous transfigurations ultimately leading to violence and myth-creative hallucination. By creating the horizon of interpretation of A Midsummer Night’s Dream, the mimetic theory reveals also a demystifying power of the comedy. At the same time, it open a new perspective of the meta-theatrical level analysis of Shakespeare’s play.
Źródło:
Roczniki Kulturoznawcze; 2013, 4, 2; 97-122
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups Ω2 and 4Frontal, Theatro tou Neou Kosmou, Greece. Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Studio, Greece.
Autorzy:
Georgopoulou, Xenia
Powiązania:
https://bibliotekanauki.pl/articles/960454.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 149-152
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Teatro Praga’s Omission of Shakespeare – An Intercultural Space
Autorzy:
Sequeira Mendes, Maria
Powiązania:
https://bibliotekanauki.pl/articles/647938.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Intercultural
A Midsummer’s Night Dream
Henry Purcell
Shakespeare
Teatro Praga
tradition
The Tempest
Opis:
Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a space in-between, as it were, which might be described as intercultural. “Inter,” as the OED clarifies, means something “among, amid, in between, in the midst.” Each of Teatro Praga’s Shakespearean adaptations, seems to exist in this “in-between” space, in the sense that they are named after Shakespeare, but are mediated by a combination of subsequent innovations. Shakespeare then emerges, or exists, in the interval between his own plays and the way they have been discussed, quoted, and misquoted across time, shaping the identities of those trying to perform his works and those observing its re-enactments on stage while being shaped himself. The fact that these adaptations only use Shakespeare’s words from time to time leads critics to consider that Teatro Praga is working against Shakespeare (or, to admirers of Henry Purcell, against his compositions). This process, however, reframes Shakespeare’s intercultural legacy and, thus, reinforces its appeal.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 91-104
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-7 z 7

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