Hamlet’s Arab journey Litvin, Margaret; Litvin, Margaret
2011., 20111003, 2011, 2012-01-01, Letnik:
30
eBook
For the past five decades, Arab intellectuals have seen themselves in Shakespeare's Hamlet: their times "out of joint," their political hopes frustrated by a corrupt older generation. Hamlet's Arab ...Journey traces the uses of Hamlet in Arabic theatre and political rhetoric, and asks how Shakespeare's play developed into a musical with a happy ending in 1901 and grew to become the most obsessively quoted literary work in Arab politics today. Explaining the Arab Hamlet tradition, Margaret Litvin also illuminates the "to be or not to be" politics that have turned Shakespeare's tragedy into the essential Arab political text, cited by Arab liberals, nationalists, and Islamists alike.
As a serious drama set in an ordinary middle-class home, Ibsen's A Doll's House established a new politics of the interior that was to have a lasting impact upon twentieth-century drama. In this ...innovative study, Nicholas Grene traces the changing forms of the home on the stage through nine of the greatest of modern plays and playwrights. From Chekhov's The Cherry Orchard through to Williams's A Streetcar Named Desire, domestic spaces and personal crises have been employed to express wider social conditions and themes of class, gender and family. In the later twentieth century and beyond, the most radically experimental dramatists created their own challenging theatrical interiors, including Beckett in Endgame, Pinter in The Homecoming and Parks in Topdog/Underdog. Grene analyses the full significance of these versions of domestic spaces to offer fresh insights into the portrayal of the naturalistic environment in modern drama.
The topical nature of the subject justifies its relevance. The analysis, based on field observations, is inspired by the approaches that underlie social criticism. It reveals, in the beginning, a ...disinterest in the pandemic, concern left to anonymous and improvised actors producing a “drama of misunderstanding” trivializing the plague. Then came an awakening of professionals in drama, which the sociocritical analysis of the Ivorian case explains by the difficulties encountered by the politicians. Indeed, the speed and firmness of the decisions, contrasting with their application, selective, soft or absent, give matter to a dramatic production. Drama is involved in raising public awareness through filmed productions. This analysis proposes solutions for efficient handling of the pandemic through Drama. They advocate the massive realization of works couraging anti-covid vaccination and barrier measures, through the theme, the attitude of actors and spectators.
Drawing upon recent scholarship in Renaissance studies regarding notions of the body, political, physical and social, this study examines how the satiric tragedians of the English Renaissance employ ...the languages of sex - including sexual slander, titillation, insinuation and obscenity - in the service of satiric aggression. There is a close association between the genre of satire and sexually descriptive language in the period, author Gabriel Rieger argues, particularly in the ways in which both the genre and the languages embody systems of oppositions. In exploring the various purposes which sexually descriptive language serves for the satiric tragedian, Rieger reviews a broad range of texts, ancient, Renaissance, and contemporary, by satiric tragedians, moralists, medical writers and critics, paying particular attention to the works of William Shakespeare, Thomas Middleton and John Webster
Contents: Introduction: sex, stoicism and satyre: the roots of satiric tragedy; 'You go not till I set you up a glass': the death of Elizabeth and the languages of gender; 'Deep ruts and fouls sloughs': sexually descriptive language and the narrative of disease; 'I'll have my will': frustrated desire and commercial culture; 'I am worth no worse a place': service, subjugation and satire; Conclusion: erotic aggression and satiric tragedy; Appendix; Works cited, Index.
Gabriel A. Rieger is an assistant professor of medieval and Renaissance literature at Concord University in Athens, West Virginia, where he lives with his wife and daughter
Joel B. Lande’s Persistence of Folly challenges the accepted account of the origins of German theater by focusing on the misunderstood figure of the fool, whose spontaneous and impish jest captivated ...audiences, critics, and playwrights from the late sixteenth through the early nineteenth century. Lande radically expands the scope of literary historical inquiry, showing that the fool was not a distraction from attempts to establish a serious dramatic tradition in the German language. Instead, the fool was both a fixture on the stage and a nearly ubiquitous theme in an array of literary critical, governmental, moral-philosophical, and medical discourses, figuring centrally in broad-based efforts to assign laughter a proper time, place, and proportion in society. Persistence of Folly reveals the fool as a cornerstone of the dynamic process that culminated in the works of Lessing, Goethe, and Kleist. By reorienting the history of German theater, Lande’s work conclusively shows that the highpoint of German literature around 1800 did not eliminate irreverent jest in the name of serious drama, but instead developed highly refined techniques for integrating the comic tradition of the stage fool.
Responding to an increasing need for critical perspectives and methodologies, this collection traces the historical dimensions of Native North American drama through overviews of major developments, ...individual playwrights' perspectives, and in-depth critical analyses. Bringing together writers and scholars from the United States, Canada, and Europe, Indigenous North American Drama provides the first comprehensive outline of this vibrant genre. It also acknowledges the wide diversity of styles and perspectives that have helped shape contemporary Native North American theater itself. This interdisciplinary introduction offers a basis for new readings of Native American and First Nations literature at large.
Shannon het alles uit my uit behalwe die visitation rights, so elke tweede naweek is dit ek en Lourens, en dan probeer ek maar fix wat hulle besig is om op te fok" (18). The Lion King se "The Circle ...of Life" begin speel sodra die akteurs hul plekke inneem. Die lirieke van hierdie lied word byna in geheel tydens die partytjie aangehaal deur 'n besope Ronnie en dit word 'n deurlopende motief wat die probleme rondom die moderne samelewing en die uitdagings van die jonger Afrikaanse generasie oproep.
This article discusses how the recent film adaptation of Macbeth directed by Joel Coen (2021) uses nature imagery – most prominently birds – to visualise ambiguities of literal and metaphorical ...meaning already inherent in the language of Shakespeare’s play, as well as Akira Kurosawa’s filmic adaptation Throne of Blood (1958). My arguments focus on the visual strategies used in Coen’s film to stylise the language of Shakespeare’s text for today’s cinematic audiences by drawing attention to the ways in which elements of nature are connected to specific characters, serving as harbingers of their emotional states and developments.
Conscience on stage Kallendorf, Hilaire
Conscience on stage,
c2007, 20071013, 2007, 2007-01-01
eBook
This study outlines and reiterates the relationship of theatre to casuistry, the Jesuit contributions to Spanish literary theory and practice, and the importance of casuistry for the study of early ...modern subjectivity.
Feminist Views on the English Stage, first published in 2003, is an exciting and insightful study on drama from a feminist perspective, one that challenges an idea of the 1990s as a 'post-feminist' ...decade and pays attention to women's playwriting marginalized by a 'renaissance' of angry young men. Working through a generational mix of writers, from Sarah Kane, the iconoclastic 'bad girl' of the stage, to the 'canonical' Caryl Churchill, Elaine Aston charts the significant political and aesthetic changes in women's playwriting at the century's end. Aston also explores writing for the 1990s in theatre by Sarah Daniels, Bryony Lavery, Phyllis Nagy, Winsome Pinnock, Rebecca Prichard, Judy Upton and Timberlake Wertenbaker.
