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Wyszukujesz frazę "Shakespeare Production" wg kryterium: Temat


Wyświetlanie 1-7 z 7
Tytuł:
Hamlet, or about Death: A Romanian Hamlet directed by Vlad Mugur (2001)
Autorzy:
Matei-Chesnoiu, Monica
Tematy:
geocriticism
Hamlet
Vlad Mugur
Shakespeare production
Shakespeare in Romania
spatial manipulation
Pokaż więcej
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:
https://bibliotekanauki.pl/articles/648240.pdf  Link otwiera się w nowym oknie
Opis:
This essay looks at the 2001 Romanian production of Hamlet directed by Vlad Mugur at the Cluj National Theatre (Romania) from the perspective of geocriticism and spatial literary studies, analysing the stage space opened in front of the audiences. While the bare stage suggests asceticism and alienation, the production distances the twenty-first century audiences from what might have seemed difficult to understand from their postmodern perspectives. The production abbreviates the topic to its bare essence, just as a map condenses space, in the form of “literary cartography” (Tally 20). There is no room in this production for baroque ornaments and theatrical flourishing; instead, the production explores the exposed depth of human existence. The production is an exploration of theatre and art, of what dramatists and directors can do with artful language, of the theatre as an exploration of human experience and potential. It is about the human condition and the artist’s place in the world, about old and new, about life and death, while everything happens on the edge of nothingness. The director’s own death before the opening night of the production ties Shakespeare’s Hamlet with existential issues in an even deeper way than the play itself allows us to expose.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Brown, Never Black: Othello on the Nazi Stage
Autorzy:
Bassey, Alessandra
Tematy:
Othello
Nazi Germany
Nazi Shakespeare
Blackface
Race
Representation
Shakespeare Production
Global Shakespeare
German Shakespeare
Theatre History
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Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:
https://bibliotekanauki.pl/articles/1033519.pdf  Link otwiera się w nowym oknie
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.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Je suis Shakespeare: The Making of Shared Identities in France and Europe in Crisis
Autorzy:
Fayard, Nicole
Tematy:
Shakespeare in France
Eric Ruf
Jérôme Hankins
Cultural production and social change
European crisis
Heterotopia
Shakespeare myth
Postcolonialism
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Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:
https://bibliotekanauki.pl/articles/648227.pdf  Link otwiera się w nowym oknie
Opis:
This essay investigates the ways in which Shakespearean production speaks to France and wider European crises in 2015 and 2016. The Tempest and Romeo and Juliet were directed by Jérôme Hankins and Eric Ruf respectively in December 2015 and reflected significant contemporaneous issues, including: (1) two Paris terrorist attacks which sent shock waves throughout France and Europe; (2) the belief that shared identities were under threat; (3) concerns over shifting power dynamics in Europe. The portrayal of these issues and their reception bring into question the extent to which cultural productions can help to promote social change or shape perceptions of national and pan-European events. This essay focuses on whether the plays successfully complicate binary narratives around cultural politics in a context of crises by creating alternative representations of difference and mobilities. It concludes that appropriating Shakespeare’s cultural authority encourages some degree of public debate. However, the function of Shakespeare’s drama remains strongly connected to its value as an agent of cultural, political and commercial mobility, ultimately making it difficult radically to challenge ideologies.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare Cut and Refashioned: The Ukrainian Translation of Hamlet Made by Hnat Khotkevych (1920s)
Autorzy:
Moskvitina, Daria
Tematy:
Shakespeare
Hamlet
Hnat Khotkevych
translation
domestication
stage production
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Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Powiązania:
https://bibliotekanauki.pl/articles/61792301.pdf  Link otwiera się w nowym oknie
Opis:
Shakespeare’s Hamlet has always been an attractive challenge for the Ukrainian translators. For now there are more than a dozen variants, and some of them have entered the treasury of the Ukrainian Shakespeareana. It is worth mentioning that the vast majority of these translations were made disregarding the perspective of a production. Only three Ukrainian ‘Hamlets’ were created for the stage, and the almost forgotten translation by Hnat Khotkevych is among them.  Although this version was intended for performance, none of its words have ever been pronounced from the stage. Hnat Khotkevych, a renowned Ukrainian musician, writer and theatre practitioner of the 1900s‒1930s completed his translation to bring Shakespeare closer to ordinary people. He was deeply convinced that Shakespeare’s dramatic legacy had to be partly ignored to make it suitable for a stage production in Ukraine in the early 20th century. That democratic intention of the translator resulted in a dramatic simplification of the original text. The technique, employed by Hnat Khotkevych, meant, first of all, cutting the dramatis personae of Fortinbras, Voltimand, Cornelius; the gravediggers never appear in this version either. Besides, the translator, firmly believing that Ukrainian actors of his time were totally incapable of reciting Shakespeare’s poetic verse, transformed the Bard’s iambic pentameter into prose. In his translation, Shakespeare’s tragedy acquired specific linguistic and stylistic features of a typical Ukrainian play of the late 19th–early 20th century, much like Khotkevych’s own dramas.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Original Pronunciation and the United States: The Case of A Midsummer Night’s Dream by Paul Meier (2010, 2012)
Autorzy:
Russo, Emiliana
Tematy:
Original Pronunciation
Theatrical production
Radio production
Paul Meier
A Midsummer Night's Dream
Shakespeare Studies
Transatlantic American Studies
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Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Powiązania:
https://bibliotekanauki.pl/articles/27177647.pdf  Link otwiera się w nowym oknie
Opis:
In 2004 Romeo and Juliet in Original Pronunciation (OP) was staged at Shakespeare’s Globe, inaugurating what Crystal would later define the OP movement (2016) - a movement aiming to restore the original sound of both the literary and non-literary works of the past. While academic literature suggests an irregular theatrical interest in the Shakespearean OP in the UK, it also demonstrates that such restoratory projects have proven increasingly appealing to the US audiences. The reasons why the North American theater goers' are attracted to the Shakespearean OP remain unclear. Based on a qualitative analysis of interviews with Paul Meier, the director of the theatrical and radio production A Midsummer Night’s Dream (2010, 2012) and two of his cast members, and complementing the findings with the study of promotional and non-promotional articles concerning the productions, this paper aims to shed light on the rationale behind the North American fascination with the Shakespearean OP. As Meier’s reflections gravitate towards the identity of the US as a former British colony, this study, relying extensively on literature review, is carried out both through the lens of literary/cultural history and of historical linguistics. Finally, though limited in its scope, this paper intends to pave the way for further studies on the relationship between the allure of the OP and the US culture, and thereby  to enrich the area of investigation concerning Shakespeare's reception in the US and his role in the American culture.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“…noxiousness of my work:” Miroslav Macháček’s 1971 "Henry V" at the Normalized National Theatre
Autorzy:
Pšenička, Martin
Tematy:
William Shakespeare
'Henry V'
Miroslav Macháček
Břetislav Hodek
National Theatre
Vasil Biľak
normalization
Norman Rabkin
production
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Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Powiązania:
https://bibliotekanauki.pl/articles/39775280.pdf  Link otwiera się w nowym oknie
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.
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Szekspir nasz powszedni albo praktyka sensownego czytania w szkole (dziś, tj. „w czasach zarazy cyfrowej” oraz relacji globalnych, a także niezależnie od jakichkolwiek plag czy kataklizmów)
Autorzy:
Kłakówna, Zofia Agnieszka
Tematy:
humanistic education
practice of contextual fiction reading
reading from the perspective of cultural and philosophical anthropology
literature-based text
theatre production
creating reading conditions
Shakespeare in the classroom
edukacja humanistyczna
praktyka kontekstowego czytania literatury pięknej
czytanie z perspektywy antropologii kulturowej i filozoficznej
tekst literacki
przedstawienie teatralne
projektowanie warunków lektury
Szekspir w szkole
Pokaż więcej
Wydawca:
Uniwersytet Rzeszowski. Wydawnictwo Uniwersytetu Rzeszowskiego
Powiązania:
https://bibliotekanauki.pl/articles/2031044.pdf  Link otwiera się w nowym oknie
Opis:
The paper is based on the assumption that the contemporary educational system, including  its general approach to literature, is characterized by being totally old-fashioned, and its results are completely opposite to what the authors of the relevant programmes hoped  to achieve, and this is the reason why it desperately  needs re-evaluating and revising. The text documents various motivations of interpreting William Shakespeare’s romantic comedy, The Tempest, as an example of a valuable and meaningful work of fiction.  Thus ‘t is a good starting point for a constructive reflection on how to create conditions suitable for studying literature-based texts in the classroom as well as on teachers’ training which would respect both the up-to-date cultural context and the value of humanistic education, paramount for the development of human identity, and which is nowadays  widely contested by the present interim economic and technical priorities.
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-7 z 7

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