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Tytuł:
Shakespeare’s Mixed Genres
Transformacje gatunkowe w dramatach Szekspira
Autorzy:
Gibinska, Marta
Powiązania:
https://bibliotekanauki.pl/articles/37551607.pdf
Data publikacji:
2024
Wydawca:
Akademia Ignatianum w Krakowie
Tematy:
tragedia
komedia
tragikomedia
Arystoteles
włoskie modele wczesnorenesansowe
Szekspir
tragedy
comedy
tragicomedy
Aristotle
Italian renaissance models
Shakespeare
Opis:
The problem of generic transformations to which Shakespeare’s plays bear witness is discussed against the ancient and early renaissance definitions and discussions of dramatic genres, from Aristotle through Plautus, Cintho, Castelvetro, Guarini to Sidney. The point of interest is located in the fuzziness in which comedy melts with tragedy (or the other way round) and yields in effect a new creation – tragicomedy. The wide range of Shakespearean comedy, tragedy, histories and Roman plays is briefly discussed in order to illustrate Shakespeare’s generic transformations, proving that traditional construction of dramatic genres, i.e., of tragedy, comedy and tragicomedy, was too narrow and too constraining for the early modern understanding of the condition of man.
Problem transformacji gatunkowych w dramatach Szekspira jest omawiany na podstawie tradycji teoretycznych od Arystotelesa, poprzez pisma Plauta, Cinthia, Castelvetra, Guariniego i Sidneya. Główny problem skupiony jest na mieszaniu wątków komediowych i tragicznych prowadzących do mody na tragikomedię. Szekspirowskie komedie, tragedie, sztuki historyczne i tragedie rzymskie są pokrótce omówione dla zilustrowania szekspirowskich transformacji, które dowodzą, że tradycyjny, wyraźny podział na tragedie, komedie i tragikomedie był zbyt wąski i zbyt ograniczający rozumienie kondycji człowieka w okresie wczesnonowożytnym.
Źródło:
Perspektywy Kultury; 2024, 45, 2; 289-298
2081-1446
2719-8014
Pojawia się w:
Perspektywy Kultury
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“…noxiousness of my work:” Miroslav Macháček’s 1971 "Henry V" at the Normalized National Theatre
Autorzy:
Pšenička, Martin
Powiązania:
https://bibliotekanauki.pl/articles/39775280.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
'Henry V'
Miroslav Macháček
Břetislav Hodek
National Theatre
Vasil Biľak
normalization
Norman Rabkin
production
Opis:
The essay focuses on the 1971 production of William Shakespeare’s rarely staged historical drama Henry V, directed by Czech director Miroslav Macháček at the Prague National Theatre in a new translation by Czech literary historian and translator Břetislav Hodek. Macháček staged the play shortly after the 1968 occupation of Czechoslovakia by Warsaw Pact troops. The premiere of the play provoked negative reactions from influential Communist officials, including the leading post-1968 politician Vasil Biľak. Macháček’s performance, which, in the director’s words, was intended as a universal anti-war parable, became a political topicality that the newly emerging normalisation authorities understood as a deliberate political, anti-socialist provocation. The essay traces the background of the production, including the translation of the play, and the consequences of the staging for Macháček. At the same time, it attempts to unravel a number of ambiguities and ambivalences associated with the period of normalization (1970s and 1980s) and its research. A special focus is given to the production itself as it disturbed the audience with its ambivalence. In this analytical section, the essay works with Norman Rabkin’s conception of Henry V, as presented in his essay “Rabbits, Ducks, and Henry V,” which traces Shakespeare’s complex grasp of the historical figure and the events associated with Henry. Macháček, who staged the play several years before this essay by Rabkin, pursued similar intentions with his stage concept. It was this unsettling ambivalence that carried within it the features of both a parable and a political gesture that spoke out against the communist occupation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 153-176
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Not For An Age, But For All Time:” Autobiography and a Re-origin of Shakespeare Studies in Canada
Autorzy:
Solá Chagas Lima, Eduardo
Thompson, Julie
Powiązania:
https://bibliotekanauki.pl/articles/39766257.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
Shakespeare studies
Autobiographical theory
Canadian English curriculum
Secondary school
Literature
Opis:
Despite independence as a country, Canada belongs to the Commonwealth and has deep colonial roots and the British educational system was key in creating Canadian curricula. Given the centrality of Shakespeare’s work in the British literary canon, it follows that it would also figure heavily in the academic requirements for Canadian students. At the dawn of the Confederation (1867), the high school curriculum used Shakespeare to emphasize a “humanist” approach to English literature using the traditional teaching methods of reading, rhetoric, and recitation. Presently, Shakespeare continues to be the only author in the high school curriculum to whom an independent area of study is dedicated. The origin of Shakespeare in Canada through curriculum and instruction is, thus, a result from the canonic tradition imported from Britain. This traditional model no longer fits the imperative of multiculturalism, as reflected in the Canadian Constitution Act (1982). Yet, with the appropriate methodology Shakespeare’s texts can be a vehicle for multiculturalism, social justice, and inclusivity. In light of recent disillusionments concerning the relevance of Shakespearean texts in high school curricula, this paper proposes an alternative pedagogical approach that envisages changing this paradigm and fostering a re-origin of Shakespeare studies in Canada through an intentional pedagogical process grounded in individual experience. Scholarship has highlighted the importance of autobiographies in the learning process and curriculum theorists William Pinar and Madeleine Grumet designed a framework that prioritizes individual experience. Our approach to teaching Shakespeare’s works aligns with the four steps of their currere method, presented as: (1) contemplative, (2) translational, (3) experiential, and (4) reconceptual, fostering an opportunity for self-transformation through trans-historical social themes present in the text. The central argument is that Shakespeare’s text can undergo a re-origin when lived, given its initial conception as embodied, enacted narrative in the early modern period. In this method, students immerse themselves in Shakespeare’s text through films and stage productions and then manifest their interpretations by embodying the literature based on their autobiographical narratives. To undergo a re-origin in the Canadian secondary curriculum, current pedagogical approaches to teaching Shakespeare require a paradigm shift.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 161-177
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Shakespeare is a Finnish national poet:” Developing Finnish Shakespeare Scholarship from the Enlightenment to the Twentieth Century
Autorzy:
Southgate, Laina
Powiązania:
https://bibliotekanauki.pl/articles/39767933.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Global Shakespeare Studies
Finland
Adaptation
Translation
Imperialism
Colonialism
Sweden
Russia
Opis:
In this article, I will take up the idea of “origins” as it pertains to Finnish Shakespeare during Finland’s time as an autonomous Grand Duchy of Russia from 1809-1917. While not technically the beginning of Shakespearean performances, the late eighteenth and early nineteenth centuries are the beginning of the rhetorical use of Shakespeare in public discourse used to establish cultural sovereignty distinct from Sweden and Russia. Beginning with a brief overview of Shakespearean mentions in the latter half of the eighteenth century, I will analyse the public discourse found in Finnish literary journals and newspaper articles in the 1810’s and 20’s. Following an analysis of J. F. Lagervall’s 1834 Ruunulinna, I will then briefly track how shifting attitudes towards translations such as those found in J. V. Snellman’s writings influenced the emerging Finnish literary and theatre tradition, most notably with Kaarlo Slöör and Paavo Cajendar’s Shakespeare translations and the establishment of the Finnish Theatre in 1871. Finally, an analysis of Juhani Aho’s untranslated essay in Gollancz’ 1916 A Book of Homage to Shakespeare will highlight the legacy of prior Finnish Shakespearean traditions, while also highlighting the limits of translation. Ultimately, I suggest that Shakespeare was appropriated early on as an accessible figure of resistance in the face of Swedish linguistic supremacy and the increasing threat of Russian assimilation and oppression.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 107-123
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“This is one Lucianus, nephew to the king!:” Political Dynamics of Four Hungarian Translations of "Hamlet"
Autorzy:
Almási, Zsolt
Powiązania:
https://bibliotekanauki.pl/articles/39778112.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
translation
Hamlet
Shakespeare
politics
Hungary
Ferenc Kazinczy
János Arany
István Eörsi
Ádám Nádasdy
Opis:
In this paper I endeavour to retell a partial history of the Hungarian translation of Hamlet’s commentary: “This is one Lucianus, nephew to the King!” (3:2:239) on the “Murder of Gonzago,” aiming to elucidate the intricate interplay between translation, cultural discourse, and socio-political dynamics. Hamlet’s commentary, seemingly straightforward yet laden with complexity, poses implications capable of reshaping the trajectory and purpose of his theatrical experiment, crafted to probe and establish Claudius’ guilt. The partial history of translations encompasses the epochs of Ferenc Kazinczy (18th century) and János Arany (19th century) up to the modern renderings of István Eörsi and Ádám Nádasdy (20th-21st centuries). Within this framework, I claim that exploring these translations of Hamlet’s commentary offers a gauge of Hamlet’s position in Hungarian cultural discourse. The evolving connotations of words, reflective of linguistic shifts, imbue layered meanings not only onto the statement itself but also onto the theatrical experiment it encapsulates. This exploration of translation, interpretation, and linguistic evolution sheds light on Shakespeare’s and Hamlet’s socio-cultural-political role in Hungary, as translations serve not merely as transparent channels of meaning but also as reflections on the political and cultural commitments of translators and their audiences.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 245-263
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:
"Henry V": A Report on the Condition of the World
Autorzy:
Gibińska, Marta
Powiązania:
https://bibliotekanauki.pl/articles/39779089.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
'Henry V'
'Henry V' reception
Shakespeare in Polish Translation
Piotr Kamiński
Dariusz Rosiak
Opis:
The central interest of the paper is concentrated on an online production of Henry V in 2020. The project is based on a new Polish translation by Piotr Kamiński and produced by Dariusz Rosiak, a journalist, as one of his regular Reports on the Condition of the World published on YouTube. Realised as a reading performance by three actors in front of an empty row of chairs, the production brings an innovative and revealing interpretation of the play, breaking new ground in the Polish reception of Shakespeare’s histories. The paper offers a brief review of the presence of history plays in Polish reception and introductory information on Rosiak’s YouTube channel and Kamiński’s translation as a background to a critical analysis of the production and its relevance to the here and now of our world.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 141-152
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Activist Discourse and the Origins of Feminist Shakespeare Studies
Autorzy:
Nerio, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/39767396.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Anna Murphy Jameson (1794-1860)
Margaret Fuller (1810-1850)
feminist literary criticism
Shakespeare’s Heroines (1832)
Woman in the Nineteenth-Century (1845)
Romantic literature
Romantic literary criticism
Romantic sociability
nineteenth century public sphere
Opis:
This essay reconsiders interpretations of Shakespeare by Irish writer Anna Murphy Jameson and the American Transcendentalist Margaret Fuller. Developing an informal method in which the voice of the female critic rallies in defence of Shakespeare’s heroines, they intervene in a male-dominated intellectual sphere to model alternative forms of women’s learning that take root outside of formalized institutional channels. Jameson, in Shakespeare’s Heroines, invokes the language of authentic Romantic selfhood and artistic freedom, recovering Shakespeare’s female characters from earlier critical aspersion as figures of exceptional female eloquence and resilience; she adopts a conversational critical voice to involve her female readers in the interpretative process itself. Fuller, in Woman in Nineteenth Century, speaks authoritatively as a kind of female prophet to argue that women’s creative reinterpretations of Shakespeare point the way to a revitalization of a sterile literary critical field. Both writers call for the reform of women’s education through revisionist interpretations of history attuned to the representation of female exceptionalism. In embryonic form, these nineteenth century feminist writings formulate a persistent strain of socially engaged, activist feminist criticism of Shakespeare.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 143-160
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Competing for Supremacy: The Origins of Shakespeare Studies in Japan
Autorzy:
Uchimaru, Kohei
Powiązania:
https://bibliotekanauki.pl/articles/39768976.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Japan
Imperial University of Tokyo
Sôseki Natsume
Shôyô Tsubouchi
Yoshisaburô Okakura
Opis:
This paper reveals that Shakespeare studies in Japan originated through competing notions of literary studies. Traditional Japanese ideas about literature differed markedly from Anglophone ones, which focused on grammatical and literary-historical facts based on the notion of Shakespeare’s universal appeal. Their principles were contested by Sôseki Natsume, who questioned Shakespeare’s vaunted universality between the 1900s and the 1910s. Although specialist scholars began forming Shakespeare as an object of disinterested study in the 1920s, it was contested again by some reflective scholars who wished to employ Shakespeare as a means of liberal education. These contests for supremacy spawned divergent origins of Shakespeare studies in Japan.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 125-141
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From Metaphor to Metonym: Shakespearean Recognition in the United States University
Autorzy:
Della Gatta, Carla
Powiązania:
https://bibliotekanauki.pl/articles/39765365.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Berkeley
college curriculum
English major
canonization
recognition
metonym
Opis:
This essay historicizes the Shakespeare curriculum at UC Berkeley’s English department over the last one hundred years. An elite research university in the United States, UC Berkeley’s extensive course offerings have expanded due to changes in undergraduate education and external cultural shifts. With a growing number of courses on sexuality, race, gender, etc., that became part of the purview of an English department, the teaching of Shakespeare expanded as well. I demonstrate how the emphasis on Shakespeare in the U.S. undergraduate curriculum shifts over time from one form of recognition—an acknowledgement of his value or worth—to a recognition of identifying with his work based on prior experience. Distinguishing between courses that combine “Shakespeare and” and those that combine “Literature and,” I expose the consequences each has for the canonicity of both Shakespeare and subject fields with which his works are placed in conversation, explicitly and implicitly. I argue that the expansion of Shakespeare in the American undergraduate curriculum coincides with and depends on the compression of key aspects of interpretation that pose challenges for the new knowledges it seeks to create. I illuminate how an expanded Shakespeare curriculum saw a compression of Shakespeare into metonymic mythic status, which has implications for the teaching of literature from various identity and cultural groups. I demonstrate how the origins of an expansive undergraduate Shakespeare curriculum in the United States positions Shakespeare as the interlocutor for a wide range of topics.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 179-193
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Maiia Harbuziuk (1965–2023) in Memoriam
Maiia Harbuziuk (1965–2023): Wspomnienie
Autorzy:
Torkut, Nataliya
Powiązania:
https://bibliotekanauki.pl/articles/29432330.pdf
Data publikacji:
2023
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Maiia Harbuziuk
Shakespeare
«Hamlet»
ukrainskie badania teatralne
Ukrainian theater studies
Opis:
This text celebrates the legacy of Maiia Harbuziuk, a distinguished Ukrainian theater critic and scholar who recently passed away before her time. The article highlights her significant contributions to theater studies and her unwavering commitment to promoting Ukrainian theater on the global stage. The author reflects on Maiia Harbuziuk’s academic achievements in the field of Shakespeare studies, including her work on the Ukrainian reception of Hamlet. She discusses the scope of Harbuziuk’s work—academic research, cultural exchange, and the organization of a Ukrainian Shakespeare Festival among many others—in all of which Maiia Harbuziuk excelled, leaving an indelible mark on Ukrainian culture and the world of theater.
Tekst upamiętnia postać Maii Harbuziuk, przedwcześnie zmarłej wybitnej ukraińskiej krytyczki teatralnej i badaczki. Artykuł podkreśla jej znaczący wkład w badania teatralne i niesłabnące zaangażowanie w promowanie ukraińskiego teatru za granicą. Autorka omawia najważniejsze osiągnięcia naukowe Maii Harbuziuk w dziedzinie badań szekspirologicznych, w tym jej prace nad ukraińską recepcją Hamleta. Omawia różnorodne przedsięwzięcia Harbuziuk – obejmujące badania naukowe, wymianę kulturalną, a także organizację Ukraińskiego Festiwalu Szekspirowskiego i wiele innych – podkreślając, że w każdej z tych dziedzin Maiia Harbuziuk osiągała znakomite wyniki, pozostawiając niezatarty ślad w ukraińskiej kulturze i świecie teatru.
Źródło:
Pamiętnik Teatralny; 2023, 72, 4; 266-277
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Monsters and Marvels: Shakespeare Across Opera, Ballet, Dance, Puppetry, and Music in Central and Eastern Europe—and Beyond
Autorzy:
Cetera-Włodarczyk, Anna
Havlíčková Kysová, Šárka
Kowalcze-Pawlik, Anna
Mišterová, Ivona
Reuss, Gabriella
Powiązania:
https://bibliotekanauki.pl/articles/39773465.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
dance theatre
opera
ballet
musical
puppetry
transmediality
Opis:
This collectively authored position paper discusses “hybrid” Shakespeares in Central and Eastern Europe, focusing on productions that offer formal experimentation and transnational perspectives. While their contexts remain regional, they provide an insight into how Shakspeare has been mobilised regionally. The paper consists of four distinct parts, each considering Shakespeare in a hybrid form: in opera, dance and musical theatre as well as puppetry in the transnational, regional context. The general discussions of Shakespeare’s presence/appropriation in these art forms are followed by case studies that illustrate the significance of hybridity that characterises Shakespeare in the Central and Eastern European transnational context. Our brief analyses and selected case studies suggest a need for a detailed study of Shakespeare and performative arts in Central and Eastern Europe that would concentrate on the transgressive impulse these theatrical blends realised through formal experiment and artistic innovation.  
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 89-108
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
Tytuł:
Other "Hamlet" in Puppet Theatre: A Contribution to Central European Theatre Diversity of the 1980s-1990s
Autorzy:
Trefalt, Uroš
Powiązania:
https://bibliotekanauki.pl/articles/39778547.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Puppet Theatre
Central Europe
Zlatko Bourek
farce
Bunraku
Croatia theatre
aesthetics of ugliness
Shakespeare
Opis:
This study aims to address the stigmatization and reductionism of Central European culture by many scholars and to decentralize it. At the Crossing Borders with Shakespeare Since 1945 conference, the roundtable discussion raised questions about naming and defining “Central Europe” and revealed several discrepancies. However, the discussion lacked cultural, political, and historical context. To address this, the author examines a lesser-known artistic genre, puppet theatre, for answers and comparisons. Zlatko Bourek, a Croatian artist and director, offers a unique perspective on the theatre of the 1980s and serves as an example of the diversity and heterogeneity of Central European cultural expression. Bourek’s work draws from the tradition of Central European puppetry and explores connections between the Iron Curtain and Yugoslavia. His artistic style is exemplified in his adaptation of Tom Stoppard’s play Fifteen-Minute Hamlet, which masterfully condenses the entire plot of William Shakespeare’s Hamlet into a fifteen-minute performance. Bourek’s concept of combining Shakespearean tragedy with farce, presented through Japanese traditional Bunraku theatre, represents an important experiment of the 1980s. The use of syncretism and the aesthetics of ugliness are notable features of this experiment. It is a breakthrough in the perceived history of puppet theatre for adults and an aesthetic experiment in the era of Central European totalitarianism.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 265-275
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Our Common Home: Eastern Europe / Central Europe / Post-Communist Europe as Signifiers of Cultural-Political Geographies and Identities
Autorzy:
Stavreva, Kirilka
Sokolova, Boika
Pikli, Natália
Wild, Jana
Powiązania:
https://bibliotekanauki.pl/articles/39778914.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Eastern Europe
Central Europe
Post-Soviet Europe
East-Central Europe
transnational Shakespeare
intra-European stereotypes
nationalism
Opis:
The article discusses the historical mutability and political connotations of the geographical signifiers Eastern and Central Europe, and the chronotope Post-Soviet / Post-Communist Europe. It considers the tensions present in these denominations, arguing for the need to defamiliarize and re-define them. Three major sections survey the circumstances that shaped the referential and connotative values of the terms from the Enlightenment to the era of European integration. The article notes commonalities in the defining experiences of the countries in the east of Europe: their emergence from the ruins of former empires (Habsburg, Russian, Ottoman) and of the Soviet bloc. It considers whether the spatial terms have been developed from within or imposed from the outside, and discusses how they have perpetuated stereotypes of the region under consideration and its people(s) and generated enduring cultural myths. It concludes by proposing terms that recoup the cultural significance of the region—East-Central Europe, its close correlative East-Centre Europe, the neologism Europeast—and by alerting scholars working on transnational Shakespeare adaptations to the importance of recontextualizing research in individual national traditions as part of a larger investigation of the mutual translatability of shared experiences.  
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 23-44
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 213

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