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In Shakespeare, Brecht, and the Intercultural Sign renowned Brecht scholar Antony Tatlow uses drama to investigate cultural crossings and to show how intercultural readings or performances question the settled assumptions we bring to interpretations of familiar texts. Through a “textual anthropology” Tatlow examines the interplay between interpretations of Shakespeare and readings of Brecht, whose work he rereads in the light of theories of the social subject from Nietzsche to Derrida and in relation to East Asian culture, as well as practices within Chinese and Japanese theater that shape their versions of Shakespearean drama. Reflecting on how, why, and to what effect knowledges and styles of performance pollinate across cultures, Tatlow demonstrates that the employment of one culture’s material in the context of another defamiliarizes the conventions of representation in an act that facilitates access to what previously had been culturally repressed. By reading the intercultural, Tatlow shows, we are able not only to historicize the effects of those repressions that create a social unconscious but also gain access to what might otherwise have remained invisible. This remarkable study will interest students of cultural interaction and aesthetics, as well as readers interested in theater, Shakespeare, Brecht, China, and Japan.
In Shakespeare, Brecht, and the Intercultural Sign renowned Brecht scholar Antony Tatlow uses drama to investigate cultural crossings and to show how intercultural readings or performances question the settled assumptions we bring to interpretations of familiar texts. Through a "textual anthropology" Tatlow examines the interplay between interpretations of Shakespeare and readings of Brecht, whose work he rereads in the light of theories of the social subject from Nietzsche to Derrida and in relation to East Asian culture, as well as practices within Chinese and Japanese theater that shape their versions of Shakespearean drama.
Great Shakespeareans presents a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. This major project offers an unprecedented scholarly analysis of the contribution made by the most important Shakespearean critics, editors, actors and directors as well as novelists, poets, composers, and thinkers from the seventeenth to the twentieth century. An essential resource for students and scholars in Shakespeare studies.
Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. In this volume, leading scholars assess the contribution of Victor-Marie Hugo, François-Victor Hugo, Boris Leonidivich Pasternak, Bertolt Brecht and Aimé Césaire to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject's intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.
The relationship between modern drama and Shakespeare remains intense and fruitful, as Shakespearian themes continue to permeate contemporary plays, films, and other art-forms. Shakespeare/Adaptation/Modern Drama is the first book-length international study to examine the critical and theatrical connections among these fields, including the motivations, methods, and limits of adaptation in modern performance media. Top scholars including Peter Holland, Alexander Leggatt, Brian Parker, and Stanley Wells examine such topics as the relationship between Shakespeare and modern drama in the context of current literary theories and historical accounts of adaptive and appropriative practices. Among the diverse and intriguing examples studied are the authorial self-adaptations of Tom Stoppard and Tennessee Williams, and the generic and political appropriations of Shakespeare's texts in television, musical theatre, and memoir. This illuminating and theoretically astute tribute to Renaissance and modern drama scholar Jill Levenson will stimulate further research on the evolving adaptive and intertextual relationships between influential literary works and periods.

Shakespeare in Culture

Jason Gleckman, Barry Hall, Lin Chi-i, Ted Motohashi, Richard Burt, Ching-hsi Perng, Han Younglim, Minami Ryuta, Judy Celine Ick, Yoshihara Yukari, Bi-qi Beatrice Lei, Ann Thompson, Mariangela Tempera

Published: 2012-01-01

Total Pages: 739


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Shakespeare, as well as the reading, translating, teaching, criticizing, performing, and adapting of Shakespeare, does not exist outside culture. Culture in its many varieties not only informs the Shakespearean corpus, productions, and scholarship, but is also reciprocally shaped by them. Culture never remains stable, but constantly evolves, travels, procreates, blends, and mutates; no less incessantly, the understanding and rewriting of Shakespeare fluctuates. The relations between Shakespeare and culture thus comprise a dynamic flux which calls for examination and reexamination. It is this rich and even labyrinthine network of meanings—intercultural, intertextual, and intergeneric—that this volume intends to explicate. The essays collected here, most of them first presented at the Fourth Conference of the National Taiwan University Shakespeare Forum held in Taipei in 2009, cover a wide range of topics—religion, philosophy, history, aesthetics, as well as politics—and thereby illustrate how fruitfully complex the topic of cultural interchange can be.
In the modern world we are accustomed to conceptualising international relations in terms of national identity. We speak of English culture, French culture and American culture as if these things were the basic building blocks of global civilisation. While there is no doubt that national culture is important, such a view fails to take account of the fact that there is great diversity within nations and powerful connections across national frontiers. Just as individuals cannot be understood in isolation from the society of which they are a part, so national cultures cannot be understood in isolation from the global community. Since the beginning of human history cross-cultural exchange has been important in bringing about social change. This can be seen vividly in the way languages and their associated literary and dramatic traditions have interacted with one another. This volume brings together a collection of essays that focus on the role cross-cultural exchange has played in performance in the theatre and in film. The aim is not to suggest any systematic theory of cross-cultural exchange but rather to present a variety of examples that illustrate the subtle and complex way in which different cultures interact.
This book traces the transformation of traditional Chinese theatre’s (xiqu) aesthetics during its encounters with Western drama and theatrical forms in both mainland China and Taiwan since 1978. Through analyzing both the text and performances of eight adapted plays from William Shakespeare, Bertolt Brecht, and Samuel Beckett, this book elaborates on significant changes taking place in playwriting, acting, scenography, and stage-audience relations stemming from intercultural appropriation. As exemplified by each chapter, during the intercultural dialogue of Chinese and foreign elements there exists one-sided dominance by either culture, fusion, and hybridity, which corresponds to the various facets of China’s pursuit of modernity between its traditional and Western influences.