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Shakespeare and the Spanish Comedia is a nearly unique transnational study of the theater / performance traditions of early modern Spain and England. Divided into three parts, the book focuses first on translating for the stage, examining diverse approaches to the topic. It asks, for example, whether plays should be translated to sound as if they were originally written in the target language or if their “foreignness” should be maintained and even highlighted. Section II deals with interpretation and considers such issues as uses of polyphony, the relationship between painting and theater, and representations of women. Section III highlights performance issues such as music in modern performances of classical theater and the construction of stage character. Written by a highly respected group of British and American scholars and theater practitioners, this book challenges the traditional divide between the academy and the stage and between one theatrical culture and another.
Shakespeare and Latinidad is a collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on Latinx productions and appropriations of Shakespeare’s plays.
Leading Golden Age theatre experts examine the ways that comedias have been adapted and reinvented, offering a broad performance history of the genre for scholars and practicioners alike. This volume brings together twenty-six essays from the world's leading scholars and practitioners of Spanish Golden Age theatre. Examining the startlingly wide variety of ways that Spanish comedias have been adapted, re-envisioned, and reinvented, the book makes the case that adaptation is a crucial lens for understanding the performance history of the genre. The essays cover a wide range of topics, from the early stage history of the comedia through numerous modern and contemporary case studies, as well as the transformation of the comedia into other dramatic genres, such as films, musicals, puppetry, and opera. The essays themselves are brief and accessible to non-specialists. This book will appeal not only to Golden Age scholars and students but also to theater practitioners, as well as to anyone interested in the theory and practice of adaptation. Harley Erdman is Professor of Theaterat the University of Massachusetts, Amherst Susan Paun de García is Professor of Spanish at Denison University. Contributors: Sergio Adillo Rufo, Karen Berman, Robert E. Bayliss, Laurence Boswell, Bruce R.Burningham, Amaya Curieses Irarte, Rick Davis, Harley Erdman, Susan L. Fischer, Charles Victor Ganelin, Francisco García Vicente, Alejandro González Puche, Valerie Hegstrom, Kathleen Jeffs, David Johnston, Gina Kaufmann, Catherine Larson, Donald R. Larson, Barbara Mujica, Susan Paun de García, Felipe B. Pedraza Jiménez, Veronika Ryjik, Jonathan Thacker, Laura L. Vidler, Duncan Wheeler, Amy Williamsen, Jason Yancey
This study demonstrates not only that the devices of revenge are structurally useful in comedy, but also that there is a consistent conception of revenge as an ethical social instrument in the comedies of Shakespeare.
Double Shakespeares examines contemporary performances of Shakespeare plays that employ the “emotional realist” traditions of acting that were codified by Stanislavski over a century ago. These performances recognize the inescapable doubleness of realism: that the actor may aspire to be the character but can never fully do so. This doubleness troubled the late-nineteenth-century actors and theorists who first formulated realist modes of acting; and it equally troubles theorists and theatre practitioners today. The book first looks at contemporary performances that foreground the doubleness of the actor’s body, particularly through cross-dressing. It then examines narratives of Shakespearean rehearsal—both fictional representations of rehearsal in film and video, and eye-witness narratives of actual rehearsals—and how they show us the process by which the actor does or does not “become” the character. And, finally, it looks at modern performances that “frame” Shakespeare’s play as a play-within-a-play, showing the audience both the character in the Shakespeare play-within and the actor in the frame-play acting that character.
Shakespeare's Spiral aims to explore a figure forgotten in the dramatic texts of Shakespeare and in Renaissance painting: the snail. Taking as its point of departure the emergence of the gastropod object/subject in the text of King Lear as well as its iconic interface in Giovanni Bellini's painting Allegory of Falsehood (circa 1490), this study sets out to follow the particular path traced by the snail throughout the Iuvre. From the central scene in which the metaphor of the snail and of its shell is specifically made manifest when Lear discovers, in a raging storm, the spectacle of Edgar disguised as Poor Tom coming out of his shelter (III.3.6-9) to the monster, this fiend, displaying on the cliffs of Dover, 'horms whelked and waved like the enridg_d sea' (IV.6.71), this work is the trace of a narrative - of a journey of the gaze - during the course of which the cryptic question of the gastropod - 'Why a Snail [_]?' (I.5.26) - does not cease to be developed and transformed. Incorporating a wide-ranging post-structuralist critique, the study aims to bring to light the particular functions of this 'revealing detail' in both its textual and visual dimension so as to put forward a new and innovatory understanding of the tragedy of King Lear.
Like a King: Casting Shakespeare’s Histories for Citizens and Subjects is a dual examination of Shakespeare’s history plays in their early modern production contexts and of the ways the histories can speak directly to twenty-first-century American political and social concerns. Author and production director Christina Gutierrez-Dennehy examines how strategic doubled and re-gendered casting can animate the underlying questions of Richard II, Henry V, and King John in vital and immediate ways for American audiences. Examining evidence from both the archive and the rehearsal room, Gutierrez-Dennehy explores the texts as repositories for dialogues about power, gender, identity, nationhood, and leadership. With the American political system as its backdrop, Like a King argues that productions of Shakespeare’s histories can interrogate and explore the relationships between citizens, subjects, and their leaders.
Shakespeare in the Spanish Theatre offers an account of Shakespeare's presence on the Spanish stage, from a production of the first Spanish rendering of Jean-François Ducis's Hamlet in 1772 to the creative and controversial work of directors like Calixto Bieito and Alex Rigola in the early 21st century. Despite a largely indirect entrance into the culture, Shakespeare has gone on to become the best and known and most widely performed of all foreign playwrights. What is more, by the end of the 20th and beginning of the 21st century there have been more productions of Shakespeare than of all of Spain's major Golden Age dramatists put together. This book explores and explains this spectacular rise to prominence and offers a timely overview of Shakespeare's place in Spain's complex and vibrant culture.