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    Wyświetlanie 1-7 z 7
    Tytuł:
    “To Make Dark Heaven Light:” Transcending the Tragic in Sintang Dalisay
    Autorzy:
    Alegre, Anne Nichole A.
    Powiązania:
    https://bibliotekanauki.pl/articles/39763095.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare and adaptation
    Filipino reception of Shakespeare
    Romeo and Juliet adaptations
    genre transformation
    global Shakespeare
    Opis:
    Directed by Ricardo Abad and choreographed by Matthew Santamaria, Sintang Dalisay—a Filipino adaptation of Shakespeare’s Romeo & Juliet—is often lauded for its use of the igal ethnic dance of the Sama-Badjau, a Muslim tribe located in the southern region of the Philippines. It depicts Rashiddin and Jamillia’s star-crossed love amidst a violent and ancient feud between their families. This paper discusses the process and product of interweaving performance traditions and cultures in Sintang Dalisay and how the adaptation transforms Shakespeare’s Romeo and Juliet from tragic to utopic. It does so in two aspects: the kinesthetic and the mythic. First, the use of the igal dance motif expresses and unearths the play’s inherently religious and celestial language. Second, the appropriation of Asian myths or beliefs—particularly of Chinese and Filipino origins—transforms and transcends the tragic ending of Romeo and Juliet’s deaths.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 33-50
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    From Romero to Romeo—Shakespeare’s Star-Crossed Lovers Meeting Zombedy in Jonathan Levine’s Warm Bodies
    Autorzy:
    Cieślak, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/2032740.pdf
    Data publikacji:
    2021-11-22
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jonathan Levine’s Warm Bodies
    Romeo and Juliet
    William Shakespeare
    Baz Luhrmann’s Romeo Juliet
    zombedy
    Opis:
    Since their first screen appearances in the 1930s, zombies have enjoyed immense cinematic popularity. Defined by Romero’s 1968 Night of the Living Dead as mindless, violent, decaying and infectious, they successfully function as ultimate fiends in horror films. Yet, even those morbid undead started evolving into more appealing, individualized and even sympathetic characters, especially when the comic potential of zombies is explored. To allow a zombie to become a romantic protagonist, however, one that can love and be loved by a human, another evolutionary step had to be taken, one fostered by a literary association. This paper analyzes Jonathan Levine’s Warm Bodies, a 2013 film adaptation of Isaac Marion’s zombie novel inspired by William Shakespeare’s Romeo and Juliet. It examines how Shakespeare’s Romeo helps transform the already evolved cinematic zombie into a romantic protagonist, and how Shakespearean love tragedy, with its rich visual cinematic legacy, can successfully locate a zombie narrative in the romantic comedy convention. Presenting the case of Shakespeare intersecting the zombie horror tradition, this paper illustrates the synergic exchanges of literary icons and the cinematic monstrous.
    Źródło:
    Text Matters: A Journal of Literature, Theory and Culture; 2021, 11; 157-177
    2083-2931
    2084-574X
    Pojawia się w:
    Text Matters: A Journal of Literature, Theory and Culture
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Shakesepare Brand in Contemporary “Fair Verona”
    Autorzy:
    Oggiano, Eleonora
    Powiązania:
    https://bibliotekanauki.pl/articles/1812148.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Branding Shakespeare
    Romeo and Juliet
    Letters to Juliet
    Verona
    Opis:
    The idea that Shakespeare belongs to the world is certainly not new. From the beginning of his afterlife as a dramatist two issues have been consistently put forward by his contemporaries: 1) his art’s universality—for Ben Jonson, Shakespeare was the one “To whom all scenes of Europe homage owe”—and 2) his ability in appropriating foreign exotic environments which have notoriously characterised most of his plays. The value of such claims, which seem to be so present to us, helped to identify Shakespeare as an ‘universal’ icon whose work transcends time and space, gradually fostering, in and outside Britain, the so-called ‘Bardification of culture’, a phenomenon which persists, even more powerfully, nowadays. This study examines the different ways through which Verona has contributed in popularizing and elaborating the myth of Romeo and Juliet into a variety of formats suitable for the tourism market. By taking into account the so-called ‘Shakespace’ phenomenon, it focuses on what I have labelled as the ‘R&J-influenced spaces’ which account for a number of civic, cultural, and narrative spaces generated by and constructed upon the myth of the Veronese lovers.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 109-125
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Verona dei viaggiatori polacchi (XVII–XIX secolo)
    The Verona of polish travellers (17th–19th centuries)
    Autorzy:
    Wrześniak, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/1929898.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Verona
    Polish travellers
    Grand Tour
    Romeo and Juliet
    Roman amphitheatre
    viaggiatori polacchi
    Romeo e Giulietta
    anfiteatro romano
    Opis:
    The study presents the first analysis of the descriptions of Verona and the works of art collected in the city in the accounts of Polish travellers from the 17th to 19th centuries. As the researched source material shows, initially Poles visited the city only while passing through, on their way to Venice, stopping for a moment to see the only object “worth seeing”: the 1st-century Roman amphitheatre located in the city centre. At that time, the descriptions of the city are laconic, as Verona was considered “secondary” in Italy. Only in the era of the Grand Tour, and especially in the second half of the 18th century, did Polish travellers intentionally visit Verona. They employed an experienced tour guide from the Bevilacqua family (recommended to their countrymen by Ignacy Potocki). They used specialised literature (Torello Saraina’s Dell’origine et ampiezza della città di Verona, Verona 1586; Scipione Maffei’s Verona illustrata e Museum veronense hoc est antiquarum inscriptionum atque anaglyphorum collectio, Verona 1749; and Giovanni Battista Da Persico’s Descrizione di Verona e della sua provincia, Verona 1820), the purchase of which became one of the goals of a visit to Verona. In the 18th century, the sightseeing route (reconstructed based on the accounts of Katarzyna Plater) included ancient architecture (Roman amphitheatre; Borsari Gate; Vitruvius Arch; Gavi Arch), museum collections (ancient art by Scipione Maffei; collections of paintings and sculptures of the Bevilacqua family; and Francesco Calzolar’s Theatrum naturae, where the most admired objects were fossils from Monte Bolca), the modern architecture of Michele Sanmicheli (Palio Gate and Cappella Pellegrini), and Venetian paintings (Tintoretto and Veronese). Only in the 19th century did the church of San Zeno appear among Verona’s must-see sites, described in detail as an excellent and rare example of Romanesque architecture; the house and tomb of Juliet was also included, though its state of preservation was completely inadequate to the image of Shakespeare’s drama and it tended to disappoint travellers.
    Il saggio presenta la prima analisi delle descrizioni di Verona e delle opere d’arte raccolte in città nei racconti dei viaggiatori polacchi del XVII-XIX secolo. Come risulta dalle ricerche effettuate, inizialmente i polacchi visitano la città solo di passaggio, sulla strada per Venezia, fermandosi qui per un momento per vedere l’unico oggetto “degno di essere visto”: l’anfiteatro romano del I secolo situato nel centro della città. A quel tempo le descrizioni della città erano laconiche, in quanto era considerata “secondaria” in Italia. Solo all’epoca del Grand Tour, e soprattutto nella seconda metà del Settecento, i viaggiatori polacchi si dirigono intenzionalmente a Verona. Usano un cicerone consigliato da Ignacy Potocki. Utilizzano letteratura specializzata (Torello Saraina, Dell’origine et ampiezza della città di Verona, Verona 1586, Scipione Maffei, Verona illustrata e Museum veronense hoc est antiquarum inscriptionum atque anaglyphorum collectio, Verona 1749 e Giovanni Battista Da Persico, Descrizione di Verona e della sua provincia, Verona 1820), il cui acquisto diventa uno degli obiettivi di una visita a Verona. Nel XVIII secolo, il percorso turistico (ricostruito sulla base del racconto di Katarzyna Platerowa de domo Sosnowska) comprendeva opere antiche (anfiteatro romano, Porta Borsari, Arco di Vitruvio, Arco Gavi), collezioni museali: arte antica di Scipione Maffei, collezione di dipinti e sculture della famiglia Bevilacqua e il Theatrum naturae di Francesco Calzolari, dove i più ammirati erano i fossili del Monte Bolca, e l’architettura moderna di Michele Sanmicheli (Porta Palio, cappella Pellegrini) e la pittura veneziana (Tintoretto, Veronese). Solo nell’Ottocento, tra i must see veronesi apparve la chiesa di San Zeno, descritta nei minimi dettagli come un eccellente e raro esempio di architettura romanica, e la casa e tomba di Giulietta, il cui stato di conservazione, del tutto inadeguato all’immagine del dramma di Shakespeare, delude i viaggiatori.
    Źródło:
    Italica Wratislaviensia; 2021, 12.1; 141-159
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann
    Autorzy:
    Śliwińska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/923296.pdf
    Data publikacji:
    2019-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Romeo and Juliet
    William Shakespeare
    film adaptation
    tragedy
    Franco Zeffirelli
    Baz Luhrmann
    Opis:
    This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 219-229
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Romeo i Julia” Piotra Czajkowskiego. W 400-lecie śmierci Wiliama Szekspira
    "Romeo and Juliet" by Peter Tchaikovsky. The 400th anniversary of William Shakespeares death
    Autorzy:
    Grajewski, Czesław
    Powiązania:
    https://bibliotekanauki.pl/articles/449883.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    P. Tchaikovsky
    music
    “Romeo and Juliet”
    W. Shakespeare
    Opis:
    With the biography of P. Tchaikovsky in the background, the author describes the circumstances of the creation of the overture Romeo and Juliet. Then he briefly analyzes the composition itself and describes its character.
    Źródło:
    Saeculum Christianum. Pismo Historyczne; 2017, 24; 228-236
    1232-1575
    Pojawia się w:
    Saeculum Christianum. Pismo Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Not Minding the Gap: Intercultural Shakespeare in Britain
    Autorzy:
    Panjwani, Varsha
    Powiązania:
    https://bibliotekanauki.pl/articles/647932.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Braisian (British Asian)
    Shakespeare
    mixed-heritage
    identity
    intercultural
    Tribe Arts
    Tara Arts
    Phizzical
    Macbeth
    Romeo and Juliet
    Cymbeline
    Darokhand
    Opis:
    The article takes issue with the perceived space/gap between the multiple identities of mixed-heritage groups, as most of these people often pick and choose elements from all of their identities and amalgamate them into a cross-cultural whole. In recent years, such mixed-heritage groups in the U.K. have increasingly found cultural expression in Shakespeare. Focusing specifically on a number of recent Shakespearean productions, by what I term Brasian (my preferred term for British-Asians as it suggests a more fused identity) theatre companies, the article demonstrates how these productions employ hybrid aesthetic styles, stories, and theatre forms to present a layered Braisian identity. It argues that these productions not only provide a nuanced understanding of the intercultural map of Britain but are also a rich breeding ground for innovative Shakespeare productions in the U.K.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 43-57
    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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