Shakespeare Beyond English
Herausgeber: Bennett, Susan; Carson, Christie
Shakespeare Beyond English
Herausgeber: Bennett, Susan; Carson, Christie
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What does it mean to perform Shakespeare in languages other than English and how do audiences respond?
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What does it mean to perform Shakespeare in languages other than English and how do audiences respond?
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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 344
- Erscheinungstermin: 29. August 2013
- Englisch
- Abmessung: 250mm x 175mm x 23mm
- Gewicht: 774g
- ISBN-13: 9781107040557
- ISBN-10: 1107040558
- Artikelnr.: 39403170
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: Cambridge University Press
- Seitenzahl: 344
- Erscheinungstermin: 29. August 2013
- Englisch
- Abmessung: 250mm x 175mm x 23mm
- Gewicht: 774g
- ISBN-13: 9781107040557
- ISBN-10: 1107040558
- Artikelnr.: 39403170
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
Foreword; Introduction: Shakespeare beyond English; The Globe to Globe Festival: an introduction; Performance calendar; Week One; 1. U Venas no Adonisi: grassroots theatre or market branding in the rainbow nation?; 2. Festival showcasing and cultural regeneration: Aotearoa New Zealand, Shakespeare's Globe and Ng
kau Toa's A Toroihi r
ua ko K
hiri (Troilus and Cressida) in Te Reo M
ori; 3. 'What's mine is yours, and what is yours is mine': Measure for Measure, Vakhtangov Theatre, Moscow; 4. 'The girl defies': a Kenyan Merry Wives of Windsor; 5. Pericles and the Globe: celebrating the body and 'embodied spectatorship'; 6. Technicolour Twelfth Night; Week Two; 7. Performing cultural exchange in Richard III: inter-cultural display and personal reflections; 8. 'A girdle round about the earth': Yohangza's A Midsummer Night's Dream; 9. Intercultural rhythm in Yohangza's Dream; 10. Art of darkness: staging Giulio Cesare at the Globe Theatre; 11. Neoliberal pleasure, global responsibility, and the South Sudan Cymbeline; 12. Titus in no man's land: the Tang Shu-wing Theatre Studio's production; 13. Tang Shu-wing's Titus and the acting of violence; 14. 'A strange brooch in this all-hating world': Ashtar Theatre's Richard II; 15. 'We want Bolingbroke': Ashtar's Palestinian Richard II; 16. O-thell-O: styling syllables, donning wigs, late-capitalist, national 'scariotypes'; Week Three; 17. Power play: Dhaka Theatre's Bangla Tempest; 18. Locating Makbet/locating the spectator; 19. 'Who dares receive it other': conversation with Harriet Walter (9 May 2012) following a performance of Makbet; 20. Two Gentlemen of Verona for/by Zimbabwean diasporic communities; 21. Inter-theatrical reading: theatrical and multicultural appropriations of 1-3 Henry VI as a Balkan trilogy; 22. 'This is our modern history': the Balkans Henry VI; Week Four; 23. Shakespeare 2012/Duchamp 1913: the global motion of Henry IV; 24. Foreign Shakespeare and the uninformed theatregoer: Part 1 an Armenian King John; 25. The right to the theatre: Belarus Free Theatre's King Lear; 26. 'Playing' Shakespeare: Marjanishvili, Georgia's As You Like It; 27. Romeu e Julieta (reprise): Grupo Galpão at the Globe, again; Week Five; 28. Bread and circuses: Chiten, Japan and Coriolanus; 29. 'No words!': Love's Labour's Lost in British Sign Language; 30. Ending well: reconciliation and remembrance in Arpana's All's Well That Ends Well; 31. Creative exploitation and talking back: Renegade Theatre's The Winter's Tale or Ìtàn Ògìnìntìn ('Winter's Tales'); 32. A Shrew full of laughter; 33. Foreign Shakespeare and the uninformed theatregoer: Part 2 a Turkish Antony and Cleopatra; 34. 'Didst hear her speak? Is she shrill-tongued or low?': Conversation with Janet Suzman following a performance of Antony and Cleopatra 26 May 2012; Week Six; 35. Habima Merchant of Venice; performances inside and outside the Globe; 36. Patriotism, presentism and the Spanish Henry VIII: The Tragedy of the Migrant Queen; 37. Touch and taboo in Rah-e-Sabz' The Comedy of Errors; 38. Shakespeare and the Euro-crisis: The Bremer Shakespeare Company's Timon aus Athen; 39. Restaging reception: translating the Mélange des Genres in Beaucoup de bruit pour rien; 40. Reviving Hamlet? Nekrosius' Lithuanian 'classic'; Afterwords; 'From thence to England' (1HVI): Henry V at Shakespeare's Globe; De-centering Shakespeare: a hope for future connections.
kau Toa's A Toroihi r
ua ko K
hiri (Troilus and Cressida) in Te Reo M
ori; 3. 'What's mine is yours, and what is yours is mine': Measure for Measure, Vakhtangov Theatre, Moscow; 4. 'The girl defies': a Kenyan Merry Wives of Windsor; 5. Pericles and the Globe: celebrating the body and 'embodied spectatorship'; 6. Technicolour Twelfth Night; Week Two; 7. Performing cultural exchange in Richard III: inter-cultural display and personal reflections; 8. 'A girdle round about the earth': Yohangza's A Midsummer Night's Dream; 9. Intercultural rhythm in Yohangza's Dream; 10. Art of darkness: staging Giulio Cesare at the Globe Theatre; 11. Neoliberal pleasure, global responsibility, and the South Sudan Cymbeline; 12. Titus in no man's land: the Tang Shu-wing Theatre Studio's production; 13. Tang Shu-wing's Titus and the acting of violence; 14. 'A strange brooch in this all-hating world': Ashtar Theatre's Richard II; 15. 'We want Bolingbroke': Ashtar's Palestinian Richard II; 16. O-thell-O: styling syllables, donning wigs, late-capitalist, national 'scariotypes'; Week Three; 17. Power play: Dhaka Theatre's Bangla Tempest; 18. Locating Makbet/locating the spectator; 19. 'Who dares receive it other': conversation with Harriet Walter (9 May 2012) following a performance of Makbet; 20. Two Gentlemen of Verona for/by Zimbabwean diasporic communities; 21. Inter-theatrical reading: theatrical and multicultural appropriations of 1-3 Henry VI as a Balkan trilogy; 22. 'This is our modern history': the Balkans Henry VI; Week Four; 23. Shakespeare 2012/Duchamp 1913: the global motion of Henry IV; 24. Foreign Shakespeare and the uninformed theatregoer: Part 1 an Armenian King John; 25. The right to the theatre: Belarus Free Theatre's King Lear; 26. 'Playing' Shakespeare: Marjanishvili, Georgia's As You Like It; 27. Romeu e Julieta (reprise): Grupo Galpão at the Globe, again; Week Five; 28. Bread and circuses: Chiten, Japan and Coriolanus; 29. 'No words!': Love's Labour's Lost in British Sign Language; 30. Ending well: reconciliation and remembrance in Arpana's All's Well That Ends Well; 31. Creative exploitation and talking back: Renegade Theatre's The Winter's Tale or Ìtàn Ògìnìntìn ('Winter's Tales'); 32. A Shrew full of laughter; 33. Foreign Shakespeare and the uninformed theatregoer: Part 2 a Turkish Antony and Cleopatra; 34. 'Didst hear her speak? Is she shrill-tongued or low?': Conversation with Janet Suzman following a performance of Antony and Cleopatra 26 May 2012; Week Six; 35. Habima Merchant of Venice; performances inside and outside the Globe; 36. Patriotism, presentism and the Spanish Henry VIII: The Tragedy of the Migrant Queen; 37. Touch and taboo in Rah-e-Sabz' The Comedy of Errors; 38. Shakespeare and the Euro-crisis: The Bremer Shakespeare Company's Timon aus Athen; 39. Restaging reception: translating the Mélange des Genres in Beaucoup de bruit pour rien; 40. Reviving Hamlet? Nekrosius' Lithuanian 'classic'; Afterwords; 'From thence to England' (1HVI): Henry V at Shakespeare's Globe; De-centering Shakespeare: a hope for future connections.
Foreword; Introduction: Shakespeare beyond English; The Globe to Globe Festival: an introduction; Performance calendar; Week One; 1. U Venas no Adonisi: grassroots theatre or market branding in the rainbow nation?; 2. Festival showcasing and cultural regeneration: Aotearoa New Zealand, Shakespeare's Globe and Ng
kau Toa's A Toroihi r
ua ko K
hiri (Troilus and Cressida) in Te Reo M
ori; 3. 'What's mine is yours, and what is yours is mine': Measure for Measure, Vakhtangov Theatre, Moscow; 4. 'The girl defies': a Kenyan Merry Wives of Windsor; 5. Pericles and the Globe: celebrating the body and 'embodied spectatorship'; 6. Technicolour Twelfth Night; Week Two; 7. Performing cultural exchange in Richard III: inter-cultural display and personal reflections; 8. 'A girdle round about the earth': Yohangza's A Midsummer Night's Dream; 9. Intercultural rhythm in Yohangza's Dream; 10. Art of darkness: staging Giulio Cesare at the Globe Theatre; 11. Neoliberal pleasure, global responsibility, and the South Sudan Cymbeline; 12. Titus in no man's land: the Tang Shu-wing Theatre Studio's production; 13. Tang Shu-wing's Titus and the acting of violence; 14. 'A strange brooch in this all-hating world': Ashtar Theatre's Richard II; 15. 'We want Bolingbroke': Ashtar's Palestinian Richard II; 16. O-thell-O: styling syllables, donning wigs, late-capitalist, national 'scariotypes'; Week Three; 17. Power play: Dhaka Theatre's Bangla Tempest; 18. Locating Makbet/locating the spectator; 19. 'Who dares receive it other': conversation with Harriet Walter (9 May 2012) following a performance of Makbet; 20. Two Gentlemen of Verona for/by Zimbabwean diasporic communities; 21. Inter-theatrical reading: theatrical and multicultural appropriations of 1-3 Henry VI as a Balkan trilogy; 22. 'This is our modern history': the Balkans Henry VI; Week Four; 23. Shakespeare 2012/Duchamp 1913: the global motion of Henry IV; 24. Foreign Shakespeare and the uninformed theatregoer: Part 1 an Armenian King John; 25. The right to the theatre: Belarus Free Theatre's King Lear; 26. 'Playing' Shakespeare: Marjanishvili, Georgia's As You Like It; 27. Romeu e Julieta (reprise): Grupo Galpão at the Globe, again; Week Five; 28. Bread and circuses: Chiten, Japan and Coriolanus; 29. 'No words!': Love's Labour's Lost in British Sign Language; 30. Ending well: reconciliation and remembrance in Arpana's All's Well That Ends Well; 31. Creative exploitation and talking back: Renegade Theatre's The Winter's Tale or Ìtàn Ògìnìntìn ('Winter's Tales'); 32. A Shrew full of laughter; 33. Foreign Shakespeare and the uninformed theatregoer: Part 2 a Turkish Antony and Cleopatra; 34. 'Didst hear her speak? Is she shrill-tongued or low?': Conversation with Janet Suzman following a performance of Antony and Cleopatra 26 May 2012; Week Six; 35. Habima Merchant of Venice; performances inside and outside the Globe; 36. Patriotism, presentism and the Spanish Henry VIII: The Tragedy of the Migrant Queen; 37. Touch and taboo in Rah-e-Sabz' The Comedy of Errors; 38. Shakespeare and the Euro-crisis: The Bremer Shakespeare Company's Timon aus Athen; 39. Restaging reception: translating the Mélange des Genres in Beaucoup de bruit pour rien; 40. Reviving Hamlet? Nekrosius' Lithuanian 'classic'; Afterwords; 'From thence to England' (1HVI): Henry V at Shakespeare's Globe; De-centering Shakespeare: a hope for future connections.
kau Toa's A Toroihi r
ua ko K
hiri (Troilus and Cressida) in Te Reo M
ori; 3. 'What's mine is yours, and what is yours is mine': Measure for Measure, Vakhtangov Theatre, Moscow; 4. 'The girl defies': a Kenyan Merry Wives of Windsor; 5. Pericles and the Globe: celebrating the body and 'embodied spectatorship'; 6. Technicolour Twelfth Night; Week Two; 7. Performing cultural exchange in Richard III: inter-cultural display and personal reflections; 8. 'A girdle round about the earth': Yohangza's A Midsummer Night's Dream; 9. Intercultural rhythm in Yohangza's Dream; 10. Art of darkness: staging Giulio Cesare at the Globe Theatre; 11. Neoliberal pleasure, global responsibility, and the South Sudan Cymbeline; 12. Titus in no man's land: the Tang Shu-wing Theatre Studio's production; 13. Tang Shu-wing's Titus and the acting of violence; 14. 'A strange brooch in this all-hating world': Ashtar Theatre's Richard II; 15. 'We want Bolingbroke': Ashtar's Palestinian Richard II; 16. O-thell-O: styling syllables, donning wigs, late-capitalist, national 'scariotypes'; Week Three; 17. Power play: Dhaka Theatre's Bangla Tempest; 18. Locating Makbet/locating the spectator; 19. 'Who dares receive it other': conversation with Harriet Walter (9 May 2012) following a performance of Makbet; 20. Two Gentlemen of Verona for/by Zimbabwean diasporic communities; 21. Inter-theatrical reading: theatrical and multicultural appropriations of 1-3 Henry VI as a Balkan trilogy; 22. 'This is our modern history': the Balkans Henry VI; Week Four; 23. Shakespeare 2012/Duchamp 1913: the global motion of Henry IV; 24. Foreign Shakespeare and the uninformed theatregoer: Part 1 an Armenian King John; 25. The right to the theatre: Belarus Free Theatre's King Lear; 26. 'Playing' Shakespeare: Marjanishvili, Georgia's As You Like It; 27. Romeu e Julieta (reprise): Grupo Galpão at the Globe, again; Week Five; 28. Bread and circuses: Chiten, Japan and Coriolanus; 29. 'No words!': Love's Labour's Lost in British Sign Language; 30. Ending well: reconciliation and remembrance in Arpana's All's Well That Ends Well; 31. Creative exploitation and talking back: Renegade Theatre's The Winter's Tale or Ìtàn Ògìnìntìn ('Winter's Tales'); 32. A Shrew full of laughter; 33. Foreign Shakespeare and the uninformed theatregoer: Part 2 a Turkish Antony and Cleopatra; 34. 'Didst hear her speak? Is she shrill-tongued or low?': Conversation with Janet Suzman following a performance of Antony and Cleopatra 26 May 2012; Week Six; 35. Habima Merchant of Venice; performances inside and outside the Globe; 36. Patriotism, presentism and the Spanish Henry VIII: The Tragedy of the Migrant Queen; 37. Touch and taboo in Rah-e-Sabz' The Comedy of Errors; 38. Shakespeare and the Euro-crisis: The Bremer Shakespeare Company's Timon aus Athen; 39. Restaging reception: translating the Mélange des Genres in Beaucoup de bruit pour rien; 40. Reviving Hamlet? Nekrosius' Lithuanian 'classic'; Afterwords; 'From thence to England' (1HVI): Henry V at Shakespeare's Globe; De-centering Shakespeare: a hope for future connections.