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Introduction: Jan Kott and Posthumanist Entanglements Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Monika Sosnowska,Robert Sawyer
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An Interview with Karen Raber: Reflections on Posthumanist Shakespeares Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Robert Sawyer,Monika Sosnowska
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“No beast so fierce but knows some touch of pity”: Compassion and the Nonhuman in Richard III Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Anne Sophie Refskou
When Lady Anne accuses Richard of cruelty in the wooing scene of act one in Richard III, she claims that even the fiercest beast will demonstrate some degree of pity. Her attempt to categorize Richard as somehow both less than human and less than a beast, however, leaves her vulnerable to Richard’s pithy retort that he knows no pity “and therefore [is] no beast” (1:2:71-2). The dialogue swiftly moves
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Superhero Shakespeare in Golden Age Comics Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Darlena Ciraulo
Albert Lewis Kanter launched Classic Comics in 1941, a series of comic books that retold classic literature for a young audience. Five of Shakespeare’s celebrated plays appear in the collection. The popularity of Classics Illustrated encouraged Seaboard Publishing to issue a competitive brand, Stories by Famous Authors Illustrated (1949-51), which retold three Shakespearean dramas. Although both these
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The Myth of Total Shakespeare: Filmic Adaptation and Posthuman Collaboration Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Seth Lewis
The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism
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Jan Kott is Dead, Long Live to the ˂“Hybrid”˃ Critic Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Elizaveta Tsirina Fedorova,Jose Saiz Molina,Julia Haba Osca
This article is a little tribute that a drama teacher, an editor and translator and a lecturer in English Literature would like to contribute to this Special Issue in Honour of Professor Dr Jan Kott, the most influential non-English speaking Shakespearean Critic in the second half of the 20th Century and early 21st Century. In the initial part of the essay we will overview Kott’s influence in the development
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Kabbalah, "Dybbuks", and the Religious Posthuman in the Shakespearean Worlds of "Twin Peaks" Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Lisa S. Starks
In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new —and often extreme—heights in its use of Kabbalah and other traditions. Twin
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Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth” Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 James Tink
Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque
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An Unexpected Journey “from the naves to the chops”: “Macbeth”, Animal Trade, and Theatrical Experience Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Przemysław Pożar
The paper proposes to appreciate the play’s butcheries as an incision into the unstable character of the category of the human. The vividness of the “strange images of death” is thus analysed with reference to the cultural poetics of Elizabethan theatre including its multifarious proximity to the bear-baiting arenas and execution scaffolds. The cluster of period’s cross-currents is subsequently expanded
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“Forward and Backward”: Actants and Agency in Marlowe’s “Doctor Faustus” and Shakespeare’s “The Tempest” Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Robert Sawyer
This essay presents a posthumanist reading of Shakespeare’s The Tempest and Marlowe’s Doctor Faustus, two plays which feature a scientist/magus who attempts to control his environment through personal agency. After detailing the analogy between the agency of posthuman figures and the workings of computerized writing machines, as Katherine Hayles has proposed, my essay shows how Kott’s writing, especially
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Facial Recognition and Posthuman Technologies in Shakespeare’s Sonnets Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Robert Darcy
The human face, real and imagined, has long figured into various forms of cultural and personal recognition—to include citizenship, in both the modern and the ancient world. But beyond affiliations related to borders and government, the human face has also figured prominently into biometrics that feed posthuman questions and anxieties. For while one requirement of biometrics is concerned with “unicity
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Afterword: Posthumanism—Past, Present and Future Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2022-03-15 Joseph Campana
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Individualization and Oedipalization in Reza Servati’s Adaptation of William Shakespeare’s Macbeth: An Expressionist Reworking Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Mahdi Javidshad
This article investigates Reza Servati’s Macbeth, an Iranian prize-winning adaptation of Shakespeare’s Macbeth, to discuss the way the adaptor prunes the source text aiming at presenting his distinctive reading of Shakespeare’s play. First, this study is concerned with the way Servati minimalizes the source text and how the process of minimalization serves the adaptor’s preoccupation with the psychological
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The Domestication and Arabization of the Bard: Towards the Reception of Shakespeare in the Arab World Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Mohammed Naser Hassoon
Since Najib al-Haddad and Tanyusʻ Abdu’s first Arabic versions of Romeo and Juliet and Hamlet at the end of the 19th century, the reception of Shakespeare in the Arab world has gone through a process of adaptation, Arabization, and translation proper. We consider the process of Arabization / domestication of Shakespeare’s plays since Najib al-Haddad’s adaptation of Romeo and Juliet and Tanyusʻ Abdu’s
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The Inverted Initiation Rituals in Shakespeare with a Special Emphasis on Hamlet Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Andrzej Wicher
The article deals the possibility of applying Vladimir Propp’s, basically anthropological idea of “the inverted ritual” to the interpretation of certain plays by William Shakespeare, particularly Hamlet. The said inversion concerns three rituals: the sacrificial ritual, where the passive and obedient victim suddenly rebels, or at least becomes difficult to control (which is the case, for example, of
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In-MeMoriaM < Dr. Vicente Forés López > Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Jose Saiz Molina
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The Medievalism of Emotions in King Lear Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Anna Czarnowus
King Lear exemplifies two cultures of feeling, the medieval and the early modern one. Even though the humoral theory lay at the heart of the medieval and the early modern understanding of emotions, there was a sudden change in the understanding of specific medieval emotions in Renaissance England, such as honour as an emotional disposition. Emotional expression also changed, since the late Middle Ages
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Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Arup K. Chatterjee
This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records
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From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Natalia Khomenko
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
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The Shakespeare Brand in Contemporary “Fair Verona” Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Eleonora Oggiano
The idea that Shakespeare belongs to the world is certainly not new. From the beginning of his afterlife as a dramatist two issues have been consistently put forward by his contemporaries: 1) his art’s universality—for Ben Jonson, Shakespeare was the one “To whom all scenes of Europe homage owe”—and 2) his ability in appropriating foreign exotic environments which have notoriously characterised most
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The Readers of 17th-Century English Manuscript Commonplace Book Hesperides, or the Muses’ Garden Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Tianhu Hao
Hesperides, or the Muses’ Garden is a 17th-century manuscript commonplace book known primarily for its Shakespearean connections. The readers of Hesperides generally combine reading and thinking, or reading and writing. Though few, Hesperides is not without its “fit audience.” In addition to the few modern scholars who have examined the manuscripts, the actual known readers of Hesperides include Humphrey
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Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Aabrita Dutta Gupta
This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance
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Four-Character Idioms and the Rhetoric of Japanese Shakespeare Translation Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2021-06-30 Daniel Gallimore
Yoji jukugo are idioms comprised of four characters (kanji) that can be used to enhance the textuality of a Japanese Shakespeare translation, whether in response to Shakespeare’s rhetoric or as compensation for the tendency of translation to be carried out at a lower textual register than the source. This article examines their use in two translations each of Julius Caesar by Matsuoka Kazuko (2014)
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Introduction: Shakespeare, Blackface and Performance. A Global Perspective Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Coen Heijes,Ayanna Thompson
When we were invited in 2019 by the editors of Multicultural Shakespeare to guest edit a special issue on a topic that would be of international significance, we did not have to think very hard or long, as the request aligned with one of our main research interests: racism, blackface and performance. Shakespearean performances have employed racial prosthetics since the Elizabethan period, but the intervening
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Othello and the Ambivalences of Italian Blackface Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Shaul Bassi,Igiaba Scego
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
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The Moor’s Political Colour: Race and Othello in Poland Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Anna Kowalcze-Pawlik
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
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Black, White and Blue: Pregnancy and Unsettled Binaries in The Masque of Blackness (1605) Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Pascale Aebischer,Victoria Sparey
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
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Othello-dor: Racialized Odor In and On Othello Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Benjamin Steingass
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
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Interpreting Othello in the Arabian Gulf: Shakespeare in a Time of Blackface Controversies Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Katherine Hennessey
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
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“Far more fair than black”: Othellos on the Chilean Stage Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Paula Baldwin Lind
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
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Brown, Never Black: Othello on the Nazi Stage Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Alessandra Bassey
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
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How Should You Perform and Watch Othello and Hairspray in a Country Where You Could Never Hire Black Actors? Shakespeare and Casting in Japan Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Kitamura Sae
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
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Othello in the Balkans: Performing Race Rhetoric on the Albanian Stage Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-12-30 Marinela Golemi
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
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Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Andoni Cossio,Martin Simonson
This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing
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Dostoevsky in English and Shakespearean Universality: A Cautionary Tale Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Chris Thurman
This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses
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Being European: "Hamlet" on the Israeli Stage Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Reut Barzilai
One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited
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A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-) Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Emi Hamana
Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing
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The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Mori Nakatani
Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological
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To "Hamlet" or Not to "Hamlet: Notes on an Arts Secondary School Students’ "Hamlet" Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Estella Ciobanu,Dana Trifan Enache
This article discusses a 2018 theatrical production of Hamlet with Romanian teenage arts students, directed by one of the article’s authors, actress and academic Dana Trifan Enache. As an artist, she believes that the art of theatre spectacle depends pre-eminently on the actors’ enactment, and hones her students’ acting skills and technique accordingly. The other voice in the article comes from an
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Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona" Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Sabina Laskowska-Hinz
The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that
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Leaving Readers and Writers in Peace: Translation of Religious Terms of Shakespeare’s "Coriolanus" into Arabic considering Venuti’s Invisibility Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2020-06-30 Rabab Mizher
This paper is an endeavour to examine the translation of religious terms (praying and oath words) in Shakespeare’s Coriolanus pertaining to two translations by Muhammad al-Sibā‘ī (1881-1931) and Jabra Ibrahim Jabra (1920-1994) into Arabic. This paper seeks to ascertain whether the translators opt for leaving readers in peace and bringing source text (ST) writers’ home or leaving writers in peace and
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James L. Harner: In Memoriam Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2018-06-30 Laura Estill,Lingui Yang,Monica Matei-Chesnoiu,José Manuel González,Jacob Heil,Julie D. Campbell,Youmi Jung,Nicole Hagstrom-Schmidt
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Introduction: (Re)Translations: Diachronic and Synchronic Perspectives on Giving New Voice to Shakespeare Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2017-12-30 Márta Minier,Lily Kahn
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Introduction: Shakespeare in Cross-Cultural Spaces Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2017-06-30 Robert Sawyer,Varsha Panjwani
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“Thou art translated”: Remapping Hideki Noda and Satoshi Miyagi’s A Midsummer Night’s Dream in Post-March 11 Japan Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Mika Eglinton
Abstract Ever since the first introduction of Shakespeare to a Japanese audience in the nineteenth century, his plays have functioned as “contact zones,” which are translingual interfaces between communities and their cultures; points of negotiation, misunderstanding and mutual transformation. In the context of what is ostensibly a monolingual society, Japanese Shakespeare has produced a limited number
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Finding a Style for Presenting Shakespeare on the Japanese Stage Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Ryuta Minami
Abstract Japanese productions of Shakespeare’s plays are almost always discussed with exclusive focus upon their visual, musical and physical aspects without any due considerations to their verbal elements. Yet the translated texts in the vernacular, in which most of Japanese stage performances of Shakespeare are given, have played crucial part in understanding and analysing them as a whole. This paper
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Hamlet and Japanese Men of Letters Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Yoshiko Kawachi
Abstract Shakespeare has exerted a powerful influence on Japanese literature since he was accepted in the second half of the nineteenth century. Particularly Hamlet has had a strong impact on Japanese men of letters and provided them with the impetus to revive the play in contemporary literature. In this paper I discuss how they have utilized Hamlet for their creative activity and enriched Japanese
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“I saw Othello’s visage in his mind”, or “White Mask, Black Handkerchif”: Satoshi Miyagi’s Mugen-Noh Othello and Translation Theory Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Ted Motohashi
Abstract This paper tries to detect key elements in the translated performance of Shakespeare by focusing on Satoshi Miyagi’s “Mugen-Noh Othello” (literally meaning “Dreamy Illusion Noh play Othello”), first performed in Tokyo by Ku=Nauka Theatre Company in 2005, and subsequently seen in New Delhi, having now acquired a classic status of renowned Shakespearean adaptation in a foreign language that
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Performing Shakespeare in Contemporary Japan: The Yamanote Jijosha’s The Tempest Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Emi Hamana
Abstract In considering the Yamanote Jijosha’s The Tempest, this paper explores the significance of performing Shakespeare in contemporary Japan. The company’s The Tempest reveals to contemporary Japanese audiences the ambiguity of Shakespeare’s text by experimenting with the postdramatic and a new acting style. While critically pursuing the meaning and possibility of theatre and performing arts today
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Noh Creation of Shakespeare Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Kuniyodhi Munakata
Abstract This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as
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Toward “Reciprocal Legitimation” between Shakespeare’s Works and Manga Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Yukari Yoshihara
Abstract In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film titled “Ophelia, not yet”. Ophelia, in this animation, survives, as she is a backstroke champion. This article will attempt to contextualize the complex negotiations, struggles and challenges between high culture and pop culture, between Western culture and Japanese culture, between authoritative
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Some Japanese Shakespeare Productions in 2014-15 Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-12-30 Shoichiro Kawai
Abstract This essay focuses on some Shakespeare productions in Japan during 2014 and 2015. One is a Bunraku version of Falstaff, for which the writer himself wrote the script. It is an amalgamation of scenes from The Merry Wives of Windsor and those from Henry IV. It was highly reputed and its stage design was awarded a 2014 Yomiuri Theatre Award. Another is a production of Much Ado about Nothing produced
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Book Reviews Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-04-22 Baisali Hui, Dhrubajyoti Sarkar
Critics down the line have always attempted to untangle the complex web of intentionality, disembodied cerebration, discontent and desire in the cognitive-psychological workings of Iago’s mind. Psychoanalysis has further opened up possibilities to analyze the intractable urges of the unconscious disguised in, yet manifested through the words and behavior of characters. Detachment and involvement, intellectual
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National Poets, the Status of the Epic and the Strange Case of Master William Shakespeare Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-04-22 Paul Innes
Abstract This essay contextualises Shakespeare as product of a field of forces encapsulating national identity and relative cultural status. It begins by historicising the production of national poets in Romantic and Nationalist terms. Lefevere’s conceptual grid is then used to characterise the system that underpins the production of Shakespeare as British national poet, and his place within the canon
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Tsubouchi Shōyō and the Beauty of Shakespeare Translation in 1900s Japan Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-04-22 Daniel Gallimore
Abstract In a recent study of Shakespeare translation in Japan, the translator and editor Ōba Kenji (14)1 expresses his preference for the early against the later translations of Tsubouchi Shōyō (1859-1935),2 a small group of basically experimental translations for stage performance published between the years 1906 and 1913; after 1913, Shōyō set about translating the rest of the plays, which he completed
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The Really Real, Authentic, Original Shakespeare Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-04-22 Marcela Kostihova
Abstract This essay considers the question of how original/new interpretations help redefine (or reify) the original/old perception of Shakespeare and the work its cultural capital performs, demonstrating the inherent impossibility of reconciling an “original” Shakespeare with contemporary performances of his plays through a reading of Twelfth Night, and address some of the ideological implications
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Shakespeare and National Mythologizing in Czech Nineteenth Century Drama Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-04-22 Martin Procházka
Abstract The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from
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Shakespeare, Macbeth and the Hindu Nationalism of Nineteenth-Century Bengal Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-04-22 Abhishek Sarkar
Abstract The essay examines a Bengali adaptation of Macbeth, namely Rudrapal Natak (published 1874) by Haralal Ray, juxtaposing it with differently accented commentaries on the play arising from the English-educated elites of 19th Bengal, and relating the play to the complex phenomenon of Hindu nationalism. This play remarkably translocates the mythos and ethos of Shakespeare’s original onto a Hindu
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The Moor for the Malayali Masses: A Study of Othello in Kathaprasangam Multicultural Shakespeare: Translation, Appropriation and Performance Pub Date : 2016-04-22 Sanju Thomas
Abstract Shakespeare, undoubtedly, has been one of the most important Western influences on Malayalam literature. His works have inspired themes of classical art forms like kathakali and popular art forms like kathaprasangam. A secular story telling art form of Kerala, kathaprasangam is a derivative of the classical art form, harikatha. It was widely used to create an interest in modern Malayalam literature