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    Wyświetlanie 1-12 z 12
    Tytuł:
    Interpreting Othello in the Arabian Gulf: Shakespeare in a Time of Blackface Controversies
    Autorzy:
    Hennessey, Katherine
    Powiązania:
    https://bibliotekanauki.pl/articles/1033514.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    Othello
    Antara Ibn Shaddad
    blackface
    Arab blackface
    Kuwait
    Egypt
    Arab/ic film and theatre
    Arabian Gulf
    Opis:
    This article opens with some brief observations on the phenomenon of Arab blackface—that is, of Arab actors “blacking up” to impersonate black Arab or African characters—from classic cinematic portrayals of the warrior-poet Antara Ibn Shaddad to more recent deployments of blackface in the Arab entertainment industry. It then explores the complex nexus of race, gender, citizenship and social status in the Arabian Gulf as context for a critical reflection on the author’s experience of reading and discussing Othello with students at the American University of Kuwait—discussions which took place in the fall of 2019, in the midst of a wave of controversies sparked by instances of Arab blackface on television and in social media.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 103-123
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Far more fair than black”: Othellos on the Chilean Stage
    Autorzy:
    Baldwin Lind, Paula
    Powiązania:
    https://bibliotekanauki.pl/articles/1033511.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    Othello
    Chilean theatre
    blackface
    Moor
    Other
    Opis:
    This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 139-170
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Othello in the Balkans: Performing Race Rhetoric on the Albanian Stage
    Autorzy:
    Golemi, Marinela
    Powiązania:
    https://bibliotekanauki.pl/articles/1033512.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Othello
    Albania
    race
    ethnicity
    rhetoric
    blackface
    performance
    Opis:
    This essay examines the racialized rhetoric in Fan Noli’s 1916 Othello translation and the racialized performance techniques employed in A.J. Ricko’s 1953 National Theatre of Albania production. Hoping to combat racial discrimination in Albania, Noli’s translation of Othello renders the Moor an exceptional Turk whose alienation in Venice was designed to mirror the Albanophobic experiences of Albanian immigrants. Moreover, the Albanian Othello can serve as a platform for addressing ethno-racial tensions between Albanians and Turks, northern and southern Albanians, and Albanians of color and white Albanians. Both Noli and Ricko believed there was an anti-racist power inherent within Shakespeare’s play. In the end, however, the race-based rhetoric in the Albanian language, the use of blackface make-up in performance, and the logic and rhetoric of Shakespeare’s play itself challenged these lofty goals for race-healing.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 125-138
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Othello-dor: Racialized Odor In and On Othello
    Autorzy:
    Steingass, Benjamin
    Powiązania:
    https://bibliotekanauki.pl/articles/1033520.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    Othello
    scent
    odor
    blackness
    blackface
    performance
    textiles
    dyeing
    costuming
    Opis:
    For Shakespearean scholars, the subject of scent in his work has remained relatively lukewarm to discussion. Shakespeare’s use of smell is not only equal to that of his other senses, but smell’s uniquely historical record both on and off the stage illuminate his works in more ways than currently perceived. Shakespeare’s usage of smell is found throughout his works, and their importance on the late Elizabethan and early Jacobean stage present a playwright-director that was exceptionally in-tune with his audiences on the page and in person. Positioned at this culturally significant point in Shakespeare’s career, one work’s utilization of scent textually and theatrically fully explicates the importance of odor in a societal, racial, and domestic capacity: Othello. This article explores and establishes the importance of smell in relation to textual Othello, his “dyed in mummy” handkerchief, and Desdemona in the written tragedy. Additionally, it studies the heighted focus of smell in Othello on a metatheatric level for Shakespeare on his early modern stage, calling attention to the myriad of odors contained in and around his Renaissance theatre and the result effect this awareness would have had on his contemporary audiences in their experience of Othello as a uniquely smell-oriented show.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 37-49
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    How Should You Perform and Watch Othello and Hairspray in a Country Where You Could Never Hire Black Actors? Shakespeare and Casting in Japan
    Autorzy:
    Sae, Kitamura
    Powiązania:
    https://bibliotekanauki.pl/articles/1033515.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Japan
    Blackface
    Othello
    Hairspray
    Memphis
    Ainu
    Fandom
    Social media
    Opis:
    This paper discusses how Japanese theatres have handled race in a country where hiring black actors to perform Shakespeare’s plays is not an option. In English-speaking regions, such as the United States and the United Kingdom, it is common to hire a black actor for Othello’s title role. Blackface is increasingly unacceptable because it reminds viewers of derogatory stereotypes in minstrel shows, and it deprives black actors of employment opportunities. However, the situation is different in regions where viewers are unfamiliar with this Anglo-US trend. In Japan, a country regarded as so homogeneous that its census does not have any questions about ethnicity, it is almost impossible to hire a skilled black actor to play a title role in a Shakespearean play, and few theatre companies would consider such an idea. In this cultural context, there is an underlying question of how Japanese-speaking theatre should present plays dealing with racial or cultural differences. This paper seeks to understand the recent approaches that Japanese theatre has adopted to address race in Shakespearean plays by analysing several productions of Othello and comparing them with other major non-Shakespearean productions.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 87-101
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Moor’s Political Colour: Race and Othello in Poland
    Autorzy:
    Kowalcze-Pawlik, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1033510.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Othello in Poland
    blackface in theatre
    brownface in theatre
    race in translation
    Opis:
    This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 171-190
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Othello and the Ambivalences of Italian Blackface
    Autorzy:
    Bassi, Shaul
    Scego, Igiaba
    Powiązania:
    https://bibliotekanauki.pl/articles/1033517.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Othello
    Shakespeare in Italy
    blackface
    colonialism
    postcolonialism
    fascism
    film
    adaptations
    popular culture
    Opis:
    Blackface is a cultural practice that appears ubiquitously in Italian history cutting across the political spectrum; it also lends itself to suprising anti-racist actions. This essay examines the use of blackface from the nineteenth to the twenty-first century by looking at its appearance in popular culture and, contextually and dialectically, at its adoption in selected performances of Othello, a play that holds special meaning in Italy because of its famous operatic adaptations. Africa and blackness were often represented in Italian visual arts in the early modern period, but the early colonial ventures of the new independent Italy create a new exotic imaginary that is particularly manifest in popular culture. Othello is influenced by new African discourses but it allso exists in a parallel dimension that somehow resists facile political interpretations. The colonial ventures of post-unification and Fascist Italy do not reverberate in any predictable manner in the growing popularity of the play. After World War II new forms of exoticism emerge that will be subverted only by a new postcolonial scenario that also coincides with a re-emergence of racism. Against the respective historical backdrops, we examine the idiosyncratic versions of blackface by Tommaso Salvini, Pietro Sharoff, Pier Paolo Pasolini, Carmelo Bene, and Elio De Capitani to suggest continuities and discontinuities in Italian interpretations of Othello.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 67-85
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Black, White and Blue: Pregnancy and Unsettled Binaries in The Masque of Blackness (1605)
    Autorzy:
    Aebischer, Pascale
    Sparey, Victoria
    Powiązania:
    https://bibliotekanauki.pl/articles/1033521.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    masque
    blackface
    body paint
    performance
    set design
    Queen Anna of Denmark
    Ben Jonson
    Inigo Jones
    pregnancy
    Opis:
    This article examines the construction of national and racial identities within Ben Jonson’s and Inigo Jones’s Masque of Blackness against the backdrop of King James’ investment in creating a ‘British’ union at the start of his reign. The article re-examines the blackface performance of the Queen and her ladies in the contexts of the Queen’s and Inigo Jones’ European connections, the Queen’s reputation as ‘wilful’, and her pregnant body’s ability to evoke widespread cultural beliefs about the maternal imagination’s power to determine a child’s racial make-up. We argue that the masque’s striking use of blue-face along with black and white-face reveals a deep investment in Britain’s ancient customs which stands in tension with Blackness’ showcasing of foreign bodies, technologies, and cultural reference points. By demonstrating the significance of understanding Queen Anna’s pregnancy and her ‘wilful’ personality within the context of early modern humoral theory, moreover, we develop existing discussions of the humoral theory that underpins the masque’s representation of racial identities. We suggest that the Queen’s pregnant performance in blackface, by reminding the viewer that her maternal mind could ‘will’ the racial identity of royal progeny into being, had the power to unsettle King James I’s white male nationalist supremacy in the very act of celebrating it before their new English court and its foreign guests.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 15-36
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Brown, Never Black: Othello on the Nazi Stage
    Autorzy:
    Bassey, Alessandra
    Powiązania:
    https://bibliotekanauki.pl/articles/1033519.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Othello
    Nazi Germany
    Nazi Shakespeare
    Blackface
    Race
    Representation
    Shakespeare Production
    Global Shakespeare
    German Shakespeare
    Theatre History
    Opis:
    This paper examines the ways in which Othello was represented on the Nazi stage. Included in the theatre analyses are Othello productions in Frankfurt in 1935, in Berlin in 1939 and 1944, and in pre-occupation Vienna in 1935. New archival material has been sourced from archives in the aforementioned locations, in order to give detailed insights into the representation of Othello on stage, with a special focus on the makeup that was used on the actors who were playing the titular role. The aim of these analyses is not only to establish what Othello looked like on the Nazi and pre-Nazi stage, but also to examine the Nazis’ relationship with Shakespeare’s Othello within the wider context of their relationship with the Black people who lived in Nazi Germany at the time. In addition, the following pages offer insights into pre-Nazi, Weimar productions of Othello in order to create a more complex and comparative understanding of Nazi Othello productions and the wider theatrical context within which they were produced. In the end, we find out, based on existing evidence, why Othello was brown, and never Black.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 51-65
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Comparison of hay and maize silage intake by lambs
    Porównanie pobierania przez jagnięta siana i kiszonki z kukurydzy
    Autorzy:
    Kirilov, A.
    Krachunov, I.
    Dimitrova, A.
    Powiązania:
    https://bibliotekanauki.pl/articles/2234802.pdf
    Data publikacji:
    2006
    Wydawca:
    Polskie Towarzystwo Łąkarskie
    Tematy:
    hay
    maize silage
    intake
    lamb
    animal feeding
    production cost
    animal production
    animal breeding
    animal breed
    Blackface Pleven breed
    Źródło:
    Łąkarstwo w Polsce; 2006, 09; 87-91
    1506-5162
    Pojawia się w:
    Łąkarstwo w Polsce
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Artyści czy propagatorzy? Twórcy najpopularniejszych pieśni okresu wojny secesyjnej
    Artists or propagators? Authors of the most popular songs from the period of the American Civil War
    Autorzy:
    Sporyń, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/666228.pdf
    Data publikacji:
    2019
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    wojna secesyjna
    pieśń żołnierska
    blackface minstrels
    Stephen C. Foster
    Dan Emmett
    George F. Root
    American Civil War
    military song
    George G. Root
    Opis:
    The article presents the most popular authors of American military songs whose musical pieces were to a greater or lesser degree utilised during the American Civil War. Biographies of five among them, namely: Stephen Collins Foster, Daniel Decatur Emmett, George Frederick Root as well as Harry McCarthy and Patrick Gilmore are the main focus of this article. In addition, other creators are mentioned, the ones who were less known, and therefore contributed to the development of American war music slightly less. Foster and Emmett are rather associated with the so‑called Blackface minstrels’ music, Root - with typical soldiers’ songs, whereas McCarthy and Gilmore - with musical Irish influences. The article contains descriptions of such songs as: Dixie, Ring de banjo, Oh! Susanna, We are coming Father Abraham, 300 thousand more, The Battle cry of Freedom, Tramp, Tramp, Tramp, Marching through Georgia, Bonnie Blue Flag, When Johnny Comes Marching Home.
    Wojna secesyjna to okres rozkwitu amerykańskiej muzyki żołnierskiej. Tworzyli wówczas wybitni amerykańscy muzycy, m.in. Stephen Collins Foster, Daniel Decatur Emmett czy George Frederick Root. Artykuł przedstawia ich losy, procesy związania z armią oraz ich najpopularniejszeutwory, które wykorzystywano podczas wojny. Jedni twórcy pisali swoje dzieła specjalnie dla celów militarnych lub politycznych. Inni z kolei tworzyli utwory uniwersalne, po które sięgnęły armie Unii i Konfederacji. Coraz większą popularność zyskiwały marsze wojskowe oraz muzyka typu blackface minstrels.
    Źródło:
    Wieki Stare i Nowe; 2019, 14, 19; 162-182
    1899-1556
    2353-9739
    Pojawia się w:
    Wieki Stare i Nowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination
    Autorzy:
    Khomenko, Natalia
    Powiązania:
    https://bibliotekanauki.pl/articles/1812145.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Othello
    blackface
    Russian theatre
    Russian film
    Soviet theatre
    Soviet film
    adaptation
    translation
    Sergei Iutkevich
    Eldar Riazanov
    Aleksei Zernov
    Nikolai Koliada
    Petr Gladilin
    Vahram Papazian
    Opis:
    Othello was the most often-staged Shakespeare play on early Soviet stages, to a large extent because of its ideological utility. Interpreted with close attention to racial conflict, this play came to symbolize, for Soviet theatres and audiences, the destructive racism of the West in contrast with Soviet egalitarianism. In the first decades of the twenty-first century, however, it is not unusual for Russian theatres to stage Othello as a white character, thus eliminating the theme of race from the productions. To make sense of the change in the Russian tradition of staging Othello, this article traces the interpretations and metatheatrical uses of this character from the early Soviet period to the present day. I argue that the Soviet tradition of staging Othello in blackface effectively prevented the use of the play for exploring the racial tensions within the Soviet Union itself, and gradually transformed the protagonist’s blackness into a generalized metaphor of oppression. As post-collapse Russia embraced whiteness as a category, Othello’s blackness became a prop that was entirely decoupled from race and made available for appropriation by ethnically Slavic actors and characters. The case of Russia demonstrates that staging Othello in blackface, even when the initial stated goals are those of racial equality, can serve a cultural fantasy of blackness as a versatile and disposable mask placed over a white face.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 75-89
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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