Shakespeare beyond English: A Global Experiment » holypet.ru

Shakespeare beyond Englisha global experiment Book.

Sep 30, 2013 · Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages. Aug 31, 2013 · Overview Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages. Shakespeare beyond English: a global experiment. [Susan Bennett; Christie Carson;] -- Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. Shakespeare Beyond English: A Global Experiment Research output: Book/Report › Book This open access research output is licenced under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Shakespeare’s plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shake- speare’s plays performed in many different world languages. Aug 31, 2013 · Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages. Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages.

UniversityPrintingHouse,Cambridgecb28bs,UnitedKingdom PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork. Bennett, Susan, and Christie Carson, Eds. Shakespeare Beyond English: A Global Experiment. Cambridge: Cambridge University Press, 2013. Escolme, Bridget. Shakespeare Beyond English: A Global Experiment. Ed. Susan Bennett and Christie Carson. Cambridge: Cambridge University Press, 2013. 31-34. Daugherty, Diane. “The Pendulum of Intercultural Performance: Kathakali King Lear at Shakespeare’s Globe.” Asian Theatre Journal 22.1 Spring 2005: 52-72. Dobson, Michael.

Shakespeare Beyond English: A Global Experiment by Susan Bennett; Christie Carson Shakespeare Beyond English Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. The Shakespearean World takes a global view of Shakespeare and his works, especially their afterlives. Constantly changing, the Shakespeare central to this volume has acquired an array of meanings over the past four centuries. "Shakespeare" signifies the historical person, as well as the plays and verse attributed to him. 'The Girl Defies: A Kenyan Merry Wives of Windsor', Shakespeare Beyond English: A Global Experiment. Ed. Susan Bennett and Christie Carson. Cambridge: Cambridge. Lee Chee Keng, “Performing Cultural Exchange in Richard III,” Shakespeare Beyond English: A Global Experiment, ed. Susan Bennett and Christie Carson Cambridge University Press, forthcoming August 2013, 75-82; Alexa Huang, ‘“What Country, Friends,. Global Shakespeare.

“‘What’s mine is yours, and what is yours is mine’: Measure for Measure, Vakhtangov Theatre, Moscow," in Shakespeare Beyond English: A Global Experiment, ed. Susan Bennett and Christie Carson Cambridge: Cambridge University Press, 2013, pp. Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages. Thirty-eight productions from around the globe were. June 19, 2020 By Shakespeare & Beyond At the heart of Keith Hamilton Cobb’s one-man play American Moor are explorations of blackness, racial dynamics in American theater, “ownership” of Shakespeare, and the subtext of Othello. They will interrogate the extent to which Shakespeare – the ‘global playwright’ in the words of the 2012 World Shakespeare Festival – can be indigenized and used as a platform for local community identity and as a tool to explore contemporary issues of politics, race, class, gender and culture. Shakespeare Beyond English: A Global Experiment ed. by Susan Bennett and Christie Carson. unifying theory of “global Shakespeare,” the discomfort with some of the uses of the Bard.

The Vakhtangov Theatre, established in 1922, is named after Stanislavski's protégé, Evgeny Vakhtangov. The theatre perpetuates the distinctive dramatic technique of its founder, embodied in Vakhtangov's Imaginative or Fantastic Realism fantasticheskii realism, which contrasts fundamentally with Stanislavski's own naturalistic dramaturgy.With its ironic style of acting and emphasis on. Shakespeare Bulletin is a peer-reviewed quarterly journal which publishes articles at the cutting edge of Shakespearean and early modern performance studies and theatre history. Since its early days as the publication of the New York Shakespeare Society in 1980 and its incorporation of the Shakespeare on Film Newsletter in 1992, Shakespeare Bulletin has grown into the leading journal of early.

Aug 11, 2014 · This book offers seventeen new essays that assess the opportunities and pitfalls presented by the twenty-first century for the ongoing exploration of Shakespeare. Through contributions from a broad range of scholars and practitioners, including case studies from those working in the field, the collection engages with the impact of the digital revolution on Shakespeare studies. responses are collated in Shakespeare Beyond English 2013, edited by Susan Bennett and Christie Carson, and A Year of Shakespeare 2013, edited by Paul Edmondson, Paul Prescott and Erin Sullivan. In Shakespeare Beyond English: A Global Experiment. Edited by Susan Bennett and Christie Carson. Edited by Susan Bennett and Christie Carson. Cambridge: Cambridge University Press. 129-38.

Abstract. Quarmby offers a timely reminder about the dangers of imposing a reformulated national myth on international Shakespeare productions. Focusing on a London performance of Korea’s Yohangza Theatre Company’s shamanized Hamlet, the chapter invites far broader consideration of the readability of global Shakespeares and the cultural competence required by Western audiences to. “Audience.” Etymology. Oxford English Dictionary. n.d. Web. Accessed 5 December 2013. Bird, Tom. Interview with Amy Kenny. 6 June 2012. Bird, Tom. “The Globe to Globe Festival: An introduction” in Shakespeare Beyond English: A Global Experiment, edited by Christie Carson and Susan Bennett. Cambridge: Cambridge University Press, 2013. He has contributed to The Taming of the Shrew: The State of Play Arden, 2020, Shakespeare and Conflict: A European Perspective Palgrave, 2013, Shakespeare Beyond English: A Global Experiment CUP, 2013 and he has co-edited Shakespeare in Spain. How might global Shakespeares be moved beyond serving as cultural markers and fomenters of revolution when. The uses of world maps in this case—informed by a metropolitan bias—reify a sense of British ownership of Shakespeare—both global and English. eds. Shakespeare Beyond English: A Global Experiment. Cambridge: Cambridge. This essay discusses the sometimes patchy and unreliable evidence we have about ‘original practices’ from stage directions, dialogue and accounts of props and costumes; it also explores how the companies using Shakespeare’s Globe have used aspects of the building such as the yard, the space under the stage, the trapdoor and so on.

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