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Tytuł:
“All’s Well that Ends Welles”: Orson Welles and the “Voodoo”<i>Macbeth</i>
Autorzy:
Sawyer, Robert
Powiązania:
https://bibliotekanauki.pl/articles/647971.pdf
Data publikacji:
2016-06-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
multicultural
Caribbean
Orson Welles
nationality
voodoo
Shakespeare
Macbeth
race
Opis:
The Federal Theatre Project, which was established in 1935 to put unemployed Americans back to work after the Great Depression, and later employed over 10,000 people at its peak, financed one particularly original adaptation of Shakespeare: the “voodoo” Macbeth directed by Orson Welles in 1936. Debuting in Harlem with an all-black cast, the play’s setting resembled a Haiti-like island instead of ancient Scotland, and Welles also supplemented the witches with voodoo priestesses, sensing that the practice of voodoo was more relevant, if not more realistic, for a contemporary audience than early modern witchcraft. My essay will consider how the terms “national origins” and “originality” intersect in three distinct ways vis-a-vis this play: The Harlem locale for the premier, the Caribbean setting for the tragedy, and the federal funding for the production.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 87-103
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Jeśli umiecie – mówcie: kim jesteście?”. O Wiedźmach w wybranych polskich inscenizacjach Makbeta
„Speak if you can: what are you?”: on the Witches in selected Polish productions of Macbeth
Autorzy:
Kowalski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/2050825.pdf
Data publikacji:
2021-12-11
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Shakespeare
Macbeth
The Witches
staging
adaptation
fantastic characters
Szekspir
Makbet
Wiedźmy
inscenizacja
adaptacja
postaci fantastyczne
Opis:
Rozważania prowadzone w artykule skupiają się na postaciach Wiedźm w Makbecie Williama Szekspira oraz trzech jego inscenizacjach z pierwszej dekady XXI wieku (wyreżyserowanych przez Andrzeja Wajdę, Grzegorza Jarzynę i Maję Kleczewską). Wychodząc od niejasnego statusu postaci w samej tragedii, autor analizuje wybrane sceny ukazujące różne sposoby interpretowania ich spotkań z tytułowym bohaterem ze współczesnej perspektywy oraz sygnalizuje korzyści, jakie dydaktyka szkolna może czerpać z odwoływania się do współczesnych inscenizacji Makbeta.
The paper focuses on The Witches as they are depicted in Macbeth by William Shakespeare and in three Polish productions of the play from the first decade of the 21st century (directed by Andrzej Wajda, Grzegorz Jarzyna, and Maja Kleczewska). While pointing out an equivocal status of these characters in the tragedy, the author analyses selected scenes which present various ways of interpreting their encounters with the protagonist in contemporary perspective and suggests how literary education in school might benefit from referring to recent productions of Macbeth.
Źródło:
Polonistyka. Innowacje; 2021, 14; 163-172
2450-6435
Pojawia się w:
Polonistyka. Innowacje
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Turning Point in the Translation of Shakespeare into Catalan: The Case of Josep M. De Sagarra’s Macbeth
Autorzy:
Palomo Berjaga, Vanessa
Powiązania:
https://bibliotekanauki.pl/articles/648034.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
Macbeth
Josep Maria de Sagarra
Cebrià Montoliu
Diego Ruiz
Cèsar August Jordana
Catalan translations
linguistic analysis
performability
Opis:
Josep Maria de Sagarra translated twenty-eight of Shakespeare’s plays into Catalan in the early forties, at a time when Catalan language and culture were suffering severe repression due to Franco’s regime. The manuscript of Macbeth by Sagarra is from 1942; and the first edition (an impressive hard-bound clandestine edition) is from 1946 or 1947. Before his translation, there were three other Catalan translations of Macbeth, produced by Cebrià Montoliu (1907), Diego Ruiz (1908) and Cèsar August Jordana (1928). The main purpose of this article is to show that Sagarra’s translations marked a turning point regarding the translation of Shakespeare’s works in Catalan culture. This is done by reflecting on both cultural and personal circumstances that led Sagarra to translate Shakespeare and by comparing Sagarra’s translation of Macbeth with the other three from the first half of the twentieth century.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 29-40
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
An Unexpected Journey “from the naves to the chops”: “Macbeth”, Animal Trade, and Theatrical Experience
Autorzy:
Pożar, Przemysław
Powiązania:
https://bibliotekanauki.pl/articles/2048124.pdf
Data publikacji:
2021-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Macbeth
posthumanism
early modern animal trade
historical phenomenology
Opis:
The paper proposes to appreciate the play’s butcheries as an incision into the unstable character of the category of the human. The vividness of the “strange images of death” is thus analysed with reference to the cultural poetics of Elizabethan theatre including its multifarious proximity to the bear-baiting arenas and execution scaffolds. The cluster of period’s cross-currents is subsequently expanded to incorporate the London shambles and its presumed resonance for the reception of Macbeth. Themes explored in the article magnify the relatedness between human and animals, underscore the porosity of the soon to turn modern paradigms and reflect upon the way Shakespeare might have played on their malleability in order to enhance the theatrical experience of the early 17th century. Finally, the questionable authority of Galenic anatomy in the pre- Cartesian era serves as a supplementary and highly speculative thread meant to suggest further research venues.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 87-104
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
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
Tytuł:
Applying multi - criteria decision aiding techniques in the process of project management within the wedding planning business
Autorzy:
Górecka, D.
Powiązania:
https://bibliotekanauki.pl/articles/406515.pdf
Data publikacji:
2012
Wydawca:
Politechnika Wrocławska. Oficyna Wydawnicza Politechniki Wrocławskiej
Tematy:
MCDA
outranking relation
PROMETHEE II with veto threshold
VDA
MACBETH
Opis:
Numerous problems that emerge in the process of project management can be presented as multi-criteria issues and solved with the help of appropriate methods. The contracting authority, selecting one tender out of many available tenders, assesses them, taking into account various criteria, e.g. price, expected execution time and the contractor’s experience. The owner of a company intending to purchase the fixed assets requisite for the realization of the project behaves similarly, i.e. the most advantageous model of the device is chosen, taking into account not only its price but also production capacity, energy intensity, noise emission, service availability, etc. From among many concepts, the investor has to choose a solution which frequently constitutes a compromise between price, functional properties, durability and aesthetics of performance, as well as safety of the utilization and impact on the environment. The choice of an investment location depends not only on the market, financial and supply factors, but also on so called soft factors such as the perceived quality of institutions and the attitude of local communities. All such situations can be described in the same way: taking into account preferences of the decision maker, the best possible choice must be made out of a finite set of alternatives evaluated according to a finite set of criteria. There are many different methods that can be used to aid a decision maker in this choice, including, but not limited to, techniques based on the outranking relation, verbal decision analysis and the MACBETH method. In this article, they will be compared and their applicability to different types of decision making problems will be considered. Furthermore, the PROMETHEE II method with a veto threshold will be presented within the text. Because the application of project management in the wedding planning business has gained wide popularity, as an illustrative example an empirical study of selecting the best venue for a wedding reception will be elaborated.
Źródło:
Operations Research and Decisions; 2012, 22, 4; 41-67
2081-8858
2391-6060
Pojawia się w:
Operations Research and Decisions
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Bezdomni zmarli: rzecz o Szekspirowskich widmach
The homeless dead: the case of Shakespeare’s spectres
Autorzy:
Grzegorzewska, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/2012206.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
cmentarz
Szekspir
Hamlet
Makbet
widma
obrzęd
Dziady
graveyard
Shakespeare
Macbeth
spectres
the custom of dziady
Opis:
The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2012, 2(5); 257-270
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth
Autorzy:
Dutta Gupta, Aabrita
Powiązania:
https://bibliotekanauki.pl/articles/1812147.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Jatra
Lady Macbeth
Vaishnavism
Shakespeare adaptations
Crossings by Vikram Iyenger
Opis:
This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitute her through the medium of Indian classical dance and music juxtaposed with Shakespearean dialogues from Macbeth. This paper will argue the possibilities posited by this transgressive re-reading of a major Shakespearean tragedy by concentrating on a possible understanding through a Hindu religious sect —Vaishnavism, as embodied through the medium of jatra. To form a radically new stage narrative in order to bring into focus the dilemma and claustrophobia of Lady Macbeth is perhaps the beginning of a new generation of Shakespeare explorations. Iyenger’s production not only dramatizes the tragedy of Lady Macbeth through folk dramatic tradition, dance and music, but also Indianises it with associations drawn from Indian mythological women like Putana (demoness) and Shakti (sacred feminine).
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 91-108
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gdy przekład zaciera ślady – Szekspir jako kryptokatolik i jego tłumacze
Covering Tracks in Translation: Shakespeare as a Crypto-Catholic and His Translators
Autorzy:
Gomoła, Aleksander
Powiązania:
https://bibliotekanauki.pl/articles/1878693.pdf
Data publikacji:
2016
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Szekspir
przekład
polskie przekłady Szekspira
teoria lancasterska
kryptokatolicyzm Szekspira
Lancastrian Shakespeare
translation
Polish translations of Shakespeare
Macbeth
The Twelfth Night
Shakespeare’s Sonnets
Opis:
L’article explore les traductions polonaises des extraits des pièces et sonnets de Shakespeare révélant, d’après les proposants de la théorie du « Lancastrian Shakespeare », ses sympathies pro-catholiques. La première partie présente les points les plus importants de la théorie lancastrienne et son impact sur l’interpretation de l’œuvre de Shakespeare. La partie suivante analyse les allusions à deux jésuites, Edmund Campion (La Nuit des rois) et Henry Garnet (Macbeth), ainsi qu’à Anne Line (La Tempête). Ces allusions sont analysées puisqu’elles apparaissent tant dans les traductions polonaises les plus connues (tels Słomczyński, Barańczak, Sito) que dans les traductions moins répandues (à savoir Dygat, Siwicka, Kamiński). De surcroît, le Sonnet no 73 est brièvement analysé. L’étude montre que certaines connotations du texte source sont gardées, lorsqu’elles se réfèrent à des éléments extratextuels; néanmoins, beaucoup de connotations, en particulier celles basées sur les jeux de mots, disparaissent.
The article explores Polish translations of excerpts of selected Shakespeare’s plays and sonnets revealing, according to proponents of “Lancastrian Shakespeare” theory, his pro-Catholic sympathies to see to what extent historical-religious tropes to be found in them are retained in target texts. Allusions to Edmund Campion (The Twelfth Night), Henry Garnet (Macbeth), and Anne Line (The Tempest) are discussed as they appear both in most popular and less known Polish translations of Shakespeare. The analysis shows that certain allusions suggesting Shakespeare’s crypto-Catholicism are visible in Polish translations yet quite a few, especially double entendres, disappear.
Artykuł analizuje polskie tłumaczenia wybranych fragmentów twórczości Szekspira wskazujących, według zwolenników teorii lancasterskiej, na jego kryptokatolicyzm. W części pierwszej przedstawia najważniejsze tezy teorii lancasterskiej i jej skutki dla interpretacji twórczości Szekspira. Później analizuje, jak w polskich tłumaczeniach oddano aluzje do dwóch jezuitów – Edmunda Campiona (Wieczór Trzech Króli) i Henry’ego Garneta (Makbet) oraz do Anny Line (Burza). W analizie uwzględniono tłumaczenia najpopularniejsze (Słomczyński, Barańczak, Sito), jak i mniej znane, w tym najnowsze (Dygat, Siwicka, Kamiński). Krótkiej analizie poddano także tłumaczenia Sonetu 73. Artykuł dowodzi, że przekłady polskie zachowują zazwyczaj konotacje oryginału, gdy te odnoszą się do elementów pozatekstualnych, zatarciu ulegają natomiast konotacje będące wynikiem gry słów lub związane ze strukturą języka oryginału.
Źródło:
Roczniki Humanistyczne; 2016, 64, 8; 159-178
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”
Autorzy:
Tink, James
Powiązania:
https://bibliotekanauki.pl/articles/2048126.pdf
Data publikacji:
2021-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Jan Kott
grotesque
absurd
Macbeth
adaptation and appropriation
Macbeth, Macbeth
Ewan Fernie
the posthuman
Opis:
Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 71-85
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kabbalah, "Dybbuks", and the Religious Posthuman in the Shakespearean Worlds of "Twin Peaks"
Autorzy:
Starks, Lisa S.
Powiązania:
https://bibliotekanauki.pl/articles/2048131.pdf
Data publikacji:
2021-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Twin Peaks
Twin Peaks: The Return, Fire Walk with Me
Twin Peaks: The Missing Pieces, The Secret History of Twin Peaks
Twin Peaks: The Final Dossier
David Lynch
Mark Frost
Kabbalah
religious posthuman
Shakespeare
Pericles
The Tempest
Hamlet
Macbeth
Opis:
In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new —and often extreme—heights in its use of Kabbalah and other traditions. Twin Peaks involves spiritual dimensions that tap into other planes of existence in which struggles between benign and destructive entities or forces, multiple universes, and extradimensional, nonhuman spirits question the centrality of the human and radically challenge traditional Western notions of being. Twin Peaks draws from Shakespeare’s expansive imagination to explore these dimensions of reality that include nonhuman entities—demons, angels, and other spirits—existing beyond and outside of fabricated, human-centered worlds, with the dybbuk functioning as the embodiment of the postsecular religious posthuman.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 29-52
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Macbeth in Nineteenth-Century Bengal: A Case of Conflicted Indigenization
Autorzy:
Chaudhury, Sarbani
Sengupta, Bhaskar
Powiązania:
https://bibliotekanauki.pl/articles/648134.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Macbeth
Nagendranath Bose
colonial Bengal
adaptation
literary and linguistic communalism
Opis:
Adaptation, a complex bilingual and bicultural process, is further problematised in a colonial scenario inflected by burgeoning nationalism and imperialist counter-oppression. Nagendranath Bose’s Karnabir (1884/85), the second extant Bengali translation of Macbeth was written after the First War of Indian Independence in 1857 and its aftermath - the formation of predominantly upper and middle class nationalist organisations that spearheaded the freedom movement. To curb anti-colonial activities in the cultural sphere, the British introduced repressive measures like the Theatre Censorship Act and the Vernacular Press Act. Bengal experienced a revival of Hinduism paradoxically augmented by the nationalist ethos and the divisive tactics of British rule that fostered communalism. This article investigates the contingencies and implications of domesticating and othering Macbeth at this juncture and the collaborative/oppositional strategies of the vernacular text vis-à-vis colonial discourse. The generic problems of negotiating tragedy in a literary tradition marked by its absence are compounded by the socio-linguistic limitations of a Sanskritised adaptation. The conflicted nature of the cultural indigenisation evidenced in Karnabir is explored with special focus on the nature of generic, linguistic and religious acculturation, issues of nomenclature and epistemology, as well as the political and ideological negotiations that the target text engages in with the source text and the intended audience.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 11-27
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Noh Creation of Shakespeare
Autorzy:
Munakata, Kuniyodhi
Powiązania:
https://bibliotekanauki.pl/articles/648142.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Noh
Noh Shakespeare
Zen
Hamlet
Othello
Macbeth
King Lear
Cordelia
Madam Reiko ADACHI
Kuniyoshi Munakata UEDA
Opis:
This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 87-106
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
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
Tytuł:
Shakespeare,<i>Macbeth</i>and the Hindu Nationalism of Nineteenth-Century Bengal
Autorzy:
Sarkar, Abhishek
Powiązania:
https://bibliotekanauki.pl/articles/647977.pdf
Data publikacji:
2016-06-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Macbeth
violence
Bengali
nationalism
Hindu revivalism
colonial modernity
Opis:
The essay examines a Bengali adaptation of Macbeth, namely Rudrapal Natak (published 1874) by Haralal Ray, juxtaposing it with differently accented commentaries on the play arising from the English-educated elites of 19th Bengal, and relating the play to the complex phenomenon of Hindu nationalism. This play remarkably translocates the mythos and ethos of Shakespeare’s original onto a Hindu field of signifiers, reformulating Shakespeare’s Witches as bhairavis (female hermits of a Tantric cult) who indulge unchallenged in ghastly rituals. It also tries to associate the gratuitous violence of the play with the fanciful yearning for a martial ideal of nation-building that formed a strand of the Hindu revivalist imaginary. If the depiction of the Witch-figures in Rudrapal undercuts the evocation of a monolithic and urbane Hindu sensibility that would be consistent with colonial modernity, the celebration of their violence may be read as an effort to emphasize the inclusivity (as well as autonomy) of the Hindu tradition and to defy the homogenizing expectations of Western enlightenment
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 117-129
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
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