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This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent. Guest editors Ton Hoenselaars and Clara Calvo have constructed this section to highlight both how the spread of 'Shakespeare' throughout Europe has brought together the energies of a wide variety of European cultures across several centuries, and how the inclusion of Shakespeare in European culture has been not only a European but also a world affair. The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. Contributors to this issue come from the US and the UK, Spain, Switzerland and South Africa, Canada, The Netherlands, India, Portugal, Greece, France, and Hungary. In addition to the section on European Shakespeares, this volume includes essays on the genre of romance, issues of character, and other topics.
This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. The fourth part revises persistent narratives concerning a political potential of Shakespeare’s plays in communist and post-communist countries. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths. Michael Dobson’s Afterword concludes the volume by locating Shakespeare within classical mythology and contemporary concerns.
Where, when, and why did European Romantics take to Shakespeare? How about Shakespeare's reception in enduring Neoclassical or in popular traditions? And above all: which Shakespeare did these various groups promote? This collection of essays leaves behind the time-honoured commonplaces about Shakespearean translation (the 'translatability' of Shakespeare's forms and meanings, the issue of 'loss' and 'gain' in translation, the distinction between 'translation' and 'adaptation', translation as an 'art'. etc.) and joins modern Shakespearean scholarship in its attempt to lay bare the cultural mechanisms endowing Shakespeare's texts with their supposedly inherent meanings. The book presents a fresh approach to the subject by its radically descriptive stance, by its search for an adequate underlying theory along interdisciplinary lines, and not in the least by its truly European scope. It traces common trends and local features not just in France and Germany, but also in Hungary, Italy, the Netherlands, Portugal, Russia, Scandinavia, and the West Slavic cultures.
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.
Detached from Shakespeare’s English, Hamlet has been rewritten numerous times in European languages, the various translations into any one language jostling with each other for dominance and spawning new Hamlets that depart decisively from Shakespeare as a source. This book focuses on the rich tradition of drawing from Hamlet in European cultures to produce new, independent works, which include Hamlet theatre, Hamlet ballet, Hamlet poetry, Hamlet fiction, Hamlet essays and Hamlet films. It examines how the myth of Hamlet has crossed back and forth over Europe’s linguistic borders for four hundred years, repeatedly reinvigorated by being bent to specific geo-political and cultural locations. The enquiries in this book show how, in the process of translation, adaptation and reinventing, Hamlet has become the common cultural currency of Europe.
What is the role of costume in Shakespeare production? Shakespeare and Costume in Practice argues that costume design choices are central not only to the creation of period setting and the actor’s work on character, but to the cultural, political, and psychological meanings that the theatre makes of Shakespeare. The book explores questions about what the first Hamlet looked like in his mourning cloak; how costumes for a Shakespeare comedy can reflect or critique the collective nostalgias a culture has for its past; how costume and casting work together to ask new questions about Shakespeare and race. Using production case studies of Hamlet, Much Ado About Nothing, and The Tempest, the book demonstrates that costume design can be a site of experimentation, playfulness, and transgression in the theatre – and that it can provoke audiences to think again about what power, race, and gender look like on the Shakespearean stage.
This essential guide provides a comprehensive survey of the most important criticism surrounding As You Like It, one of Shakespeare's most popular and engaging comedies, from the earliest appraisals through to 21st century scholarship. Dana Aspinall outlines, assesses and explores the key critical issues, including As You Like It and the genre of comedy; Shakespeare's adaptation of sources; gender, love and marriage; and interrogations of power. Highlighting how critical and scholarly studies of As You Like It continue to enrich our understanding of this complex and popular play, this guide is an invaluable resource for undergraduate and postgraduate students of English literature, teachers, researchers, scholars, and lovers of Shakespeare everywhere.
Fools and clowns were widely popular characters employed in early modern drama, prose texts and poems mainly as laughter makers, or also as ludicrous metaphorical embodiments of human failures. Literature and Intellectual Disability in Early Modern England: Folly, Law and Medicine, 1500–1640 pays full attention to the intellectual difference of fools, rather than just their performativity: what does their total, partial, or even pretended ‘irrationality’ entail in terms of non-standard psychology or behaviour, and others’ perception of them? Is it possible to offer a close contextualised examination of the meaning of folly in literature as a disability? And how did real people having intellectual disabilities in the Renaissance period influence the representation and subjectivity of literary fools? Alice Equestri answers these and other questions by investigating the wide range of significant connections between the characters and Renaissance legal and medical knowledge as presented in legal records, dictionaries, handbooks, and texts of medicine, natural philosophy, and physiognomy. Furthermore, by bringing early modern folly in closer dialogue with the burgeoning fields of disability studies and disability theory, this study considers multiple sides of the argument in the historical disability experience: intellectual disability as a variation in the person and as a difference which both society and the individual construct or respond to. Early modern literary fools’ characterisation then emerges as stemming from either a realistic or also from a symbolical or rhetorical representation of intellectual disability.
The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. This year the volume includes a special section on Updating Shakespeare, looking at Shakespearean adaptation in several countries. Contributors to the volume come from the US and the UK, Poland, Japan and Brazil.
The Arden Research Handbook of Shakespeare and Contemporary Performance is a wide-ranging, authoritative guide to research on Shakespeare and performance studies by an international team of leading scholars. It contains chapters on the key methods and questions surrounding the performance event, the audience, and the archive – the primary sources on which performance studies draws. It identifies the recurring trends and fruitful lines of inquiry that are generating the most urgent work in the field, but also contextualises these within the histories and methods on which researchers build. A central section of research-focused essays offers case studies of present areas of enquiry, from new approaches to space, bodies and language to work on the technologies of remediation and original practices, from consideration of fandoms and the cultural capital invested in Shakespeare and his contemporaries to political and ethical interventions in performance practice. A distinctive feature of the volume is a curated section focusing on practitioners, in which leading directors, writers, actors, producers, and other theatre professionals comment on Shakespeare in performance and what they see as the key areas, challenges and provocations for researchers to explore. In addition, the Handbook contains various sections that provide non-specialists with practical help: an A-Z of key terms and concepts, a guide to research methods and problems, a chronology of major publications and events, an introduction to resources for study of the field, and a substantial annotated bibliography. The Arden Research Handbook of Shakespeare and Contemporary Performance is a reference work aimed at advanced undergraduate and graduate students as well as scholars and libraries, a guide to beginning or developing research in the field, and an essential companion for all those interested in Shakespeare and performance.