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Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
Henry V to China: to Beijing, Announce That Paapa Essiedu Will Play the Title Role
MEMBERSSEPTEMBER 2015 ’NEWSFULL MEMBER NEW RSC FULL MEMBERS’ TICKET HOTLINE 01789 403458 BOOK ONLINE OR VISIT EXCLUSIVE MEMBERS’ PAGES AT www.rsc.org.uk/membership TO HE WAS NOT OF AN AGE, BUT FOR ALL TIME! MEMBERS' PRIORITY BOOKING DATES FOR STRATFORD-UPON-AVON AND LONDON BARBICAN FULL MEMBERS' WEB AND TELEPHONE BOOKING OPENS MONDAY 21 SEPTEMBER 2015 ASSOCIATE MEMBERS' WEB AND TELEPHONE BOOKING OPENS MONDAY 5 OCTOBER 2015 PUBLIC BOOKING OPENS MONDAY 19 OCTOBER 2015 GREGORY DORAN – RSC ARTISTIC DIRECTOR 2016 is a remarkable SUMMER 2016 BEYOND STRATFORD year. It is 400 years Simon Godwin (The Two Gentlemen of Verona 2014) From an international perspective, we will tour since the death of will direct Hamlet and we are very excited to Henry IV and Henry V to China: to Beijing, announce that Paapa Essiedu will play the title role. Shanghai and Hong Kong, and then the full cycle William Shakespeare, Paapa played Fenton in our most recent The Merry to the Brooklyn Academy of Music in New York for Wives of Windsor and a stunning Romeo at the Shakespeare’s Birthday. We have a very special our house playwright. Tobacco Factory in Bristol earlier this year. relationship with America and it is fitting to be So we want to There has not been a production of Cymbeline on celebrating with our American supporters next year. the main stage for many years. Working through encourage everybody the canon over the next few years allows us to give to visit us in his home weight and scale to lesser known Shakespeare plays. -
Hello, Together with the Team at Warwick University and The
Hello, Together with the team at Warwick University and the Shakespeare Birthplace Trust in Stratford-upon-Avon, I'm hugely looking forward to welcoming you next month to Shakespeare and his World, our unique online course based on the collections of the Trust. You can find out more about the Trust and the Shakespeare houses here: http://www.shakespeare.org.uk The course is aimed at everybody from the Shakespeare beginner to teachers of Shakespeare and the seasoned playgoer. In the first week, we'll have a general introduction to Shakespeare's life, world and work, and in each subsequent week we'll be linking a particular theme to a particular play. To get the best out of each week, it would be best to read the play while following the course. Though you'll still learn a lot even if you don't manage to do that - especially if it's a play you've studied before or seen on stage or film. Each week we’ll provide the link to an online edition of each of the plays but, to be honest, any edition will do. If you would like to get started now you can access the plays here: http://www.opensourceshakespeare.org/ For those of you who want to prepare for the course, perhaps even read the plays, the order of the plays we will study are as follows: Week 2: The Merry Wives of Windsor http://bit.ly/FLshakespeareMWW Week 3: A Midsummer Night's Dream http://bit.ly/FLshakespeareMND Week 4: Henry V http://bit.ly/FLshakespeareHenryV Week 5: The Merchant of Venice http://bit.ly/FLshakespeareMoV Week 6: Macbeth http://bit.ly/FLshakespeareMacbeth Week 7: Othello http://bit.ly/FLshakespeareOthello Week 8: Antony & Cleopatra http://bit.ly/FLshakespeareAC Week 9: The Tempest http://bit.ly/FLshakespeareTempest The final week is a general round up and a look at Shakespeare's 'afterlife' - the amazing story of his posthumous fame all around the world. -
Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban. -
VII Shakespeare
VII Shakespeare GABRIEL EGAN, PETER J. SMITH, ELINOR PARSONS, CHLOE WEI-JOU LIN, DANIEL CADMAN, ARUN CHETA, GAVIN SCHWARTZ-LEEPER, JOHANN GREGORY, SHEILAGH ILONA O'BRIEN AND LOUISE GEDDES This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Gabriel Egan; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Wei-Jou Lin; section 4(b) is by Daniel Cadman; section 4(c) is by Arun Cheta; section 4(d) is by Gavin Schwartz-Leeper; section 4(e) is by Johann Gregory; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Louise Geddes. 1. Editions and Textual Studies One major critical edition of Shakespeare appeared this year: Peter Holland's Corio/anus for the Arden Shakespeare Third Series. Holland starts with 'A Note on the Text' (pp. xxiii-xxvii) that explains the process of modernization and how the collation notes work, and does so very well. Next Holland prints another note apologizing for but not explaining-beyond 'pressures of space'-his 44,000-word introduction to the play having 'no single substantial section devoted to the play itself and its major concerns, no chronologically ordered narrative of Corio/anus' performance history, no extensive surveying of the history and current state of critical analysis ... [and not] a single footnote' (p. xxxviii). After a preamble, the introduction itself (pp. 1-141) begins in medias res with Corio/anus in the 1930s, giving an account of William Poel's production in 1931 and one by Comedie-Frarn;:aise in 1933-4 and other reinterpretations by T.S. -
Making Shakespeare Their ‘Buddy’
ISSN 2040‐2228 Vol. 4 No. 1 April 2013 Drama Research: international journal of drama in education Article 2 Making Shakespeare their ‘buddy’. Brian Lighthill National Drama Publications www.dramaresearch.co.uk [email protected] www.nationaldrama.org.uk Drama Research Vol. 4 No. 1 April 2013 Making Shakespare their ‘buddy’. (Should Shakespeare studies have a place in the curriculum – or is it just a load of Bardolatry?) ____________________________________________________________________ Brian Lighthill Abstract This article is based on a paper presented by Dr. Brian Lighthill at the RSC Worlds Together symposium, Tate Modern, London. October 7th, 2012 and is a brief summation of four years of observations and action research in one Warwickshire secondary school (2006‐10). The research project explored whether Shakespeare studies should have an ongoing place in the curriculum? In this article I map out the arguments for and against Shakespeare study then describe the modus operandi of the research process. A debate follows on how to make Shakespeare relevant for young learners – if the students are to own Shakespeare’s production can the issues in the fictional stories be made relevant to their real life world? I then summarize the research methodology and case study analysis and, at some length, discuss the discoveries made from many in‐depth interviews and questionnaires with seven randomly selected students, their parents and teachers over four years. Finally I explore the way forward for Shakespeare studies. This paper interrogates two questions: ‘Have Shakespeare’s plays any relevance to the lives of young people today – or is it just a load of Bardolatry?’ And, to miss‐quote Monty Pythons The Life of Brian, What have Shakespeare studies done for us? Article 2 Making Shakespeare their ‘buddy’ 2 Drama Research Vol. -
Othello and the Green-Eyed Monster of Jealousy
Othello and the Green-Eyed Monster of Jealousy by Richard M. Waugaman his article studies jealousy in Shakespeare’s Othello, showing that knowledge of the true author’s life experiences with the extremes of pathological jeal- Tousy will deepen our understanding and appreciation of this unsettling play. This essay builds on the previous Oxfordian study of Othello by A. Bronson Feld- man, the first psychoanalyst to take up Freud’s call that we re-examine Shakespeare’s works with a revised understanding of who wrote them. Freud cited Othello in his 1922 explanation that “projected jealousy” defends against guilt about one’s actual or fantasized infidelity by attributing unfaithfulness to one’s partner. In Hamlet, Shake- speare anticipates Freud’s formulation when Gertrude says, “So full of artless jealou- sy is guilt” (4.5.21). Freud wrote to Arnold Zweig in 1937 that he was “almost irritated” that Zweig still believed Shakspere of Stratford simply relied on his imagination to write the great plays. Freud explained, “I do not know what still attracts you to the man from Stratford. He seems to have nothing at all to justify his claim [to authorship of the canon], whereas Oxford has almost everything. It is quite inconceivable to me that Shakespeare should have got everything secondhand – Hamlet’s neurosis, Lear’s madness…Othello’s jealousy, etc.” (Freud, Zweig Letters, 140; see also Waugaman, 2017). When Shakespeare scholars acknowledge Freud’s Oxfordian opinions at all, they attack his motives, overlooking Freud’s expectation that Shakespeare’s life experiences would bear a significant relationship to his plays and poetry. -
Jonathan Bate, University of Oxford
[Expositions 10.2 (2016) 1–21] Expositions (online) ISSN: 1747–5376 Interview: Jonathan Bate, University of Oxford JOHN-PAUL SPIRO Villanova University Sir Jonathan Bate is Professor of English Literature and Provost of Worcester College, Oxford. As the interview below indicates, he has wide-ranging research interests in Shakespeare and Renaissance Literature, Romanticism, biography and life-writing, eco-criticism, contemporary poetry, and theater history. He is a Governor of the Royal Shakespeare Company and engages frequently with literary questions in the public square. I had the chance to sit down with him in early July 2016 – a week after the Brexit vote – at the Provost’s Lodgings at Worcester College. We discussed his life and work, Shakespeare studies at Oxford, the place of the humanities in higher education, his struggles with writing a biography of Ted Hughes, and current events. Below is a transcript of that conversation. Spiro: What brought you to the study of Shakespeare? Bate: Well, I think, like many literary scholars and, perhaps, humanities academics of all disciplines, great teaching. I was lucky enough in secondary school, high school, to have some brilliant English teachers and a very good drama teacher as well. And so I sort of got hooked on poetry, English literature, at age fifteen, sixteen, seventeen. I was keen on theater as well. I played Macbeth as a sixteen-year-old and there’s nothing like acting in a Shakespeare play for internalizing the language. I think I still know the whole of that play by heart. And so it was fairly obvious that an English degree was going to be the thing for me. -
The Shakespeare Apocrypha and Canonical Expansion in the Marketplace
The Shakespeare Apocrypha and Canonical Expansion in the Marketplace Peter Kirwan 1 n March 2010, Brean Hammond’s new edition of Lewis Theobald’s Double Falsehood was added to the ongoing third series of the Arden Shakespeare, prompting a barrage of criticism in the academic press I 1 and the popular media. Responses to the play, which may or may not con- tain the “ghost”2 of Shakespeare and Fletcher’s Cardenio, have dealt with two issues: the question of whether Double Falsehood is or is not a forgery;3 and if the latter, the question of how much of it is by Shakespeare. This second question as a criterion for canonical inclusion is my starting point for this paper, as scholars and critics have struggled to define clearly the boundar- ies of, and qualifications for, canonicity. James Naughtie, in a BBC radio interview with Hammond to mark the edition’s launch, suggested that a new attribution would only be of interest if he had “a big hand, not just was one of the people helping to throw something together for a Friday night.”4 Naughtie’s comment points us toward an important, unqualified aspect of the canonical problem—how big does a contribution by Shakespeare need to be to qualify as “Shakespeare”? The act of inclusion in an editedComplete Works popularly enacts the “canonization” of a work, fixing an attribution in print and commodifying it within a saleable context. To a very real extent, “Shakespeare” is defined as what can be sold as Shakespearean. Yet while canonization operates at its most fundamental as a selection/exclusion binary, collaboration compli- cates the issue. -
Wordsworth, Coleridge and the Poetic Revolution
16 OCTOBER 2018 Wordsworth, Coleridge and the Poetic Revolution PROFESSOR SIR JONATHAN BATE FBA CBE In my previous lecture, I suggested that one of the key figures in the ferment that led up to the astonishing decade that began with the fall of the Bastille in 1789 was Jean-Jacques Rousseau, whose Social Contract laid many of the intellectual foundations of the revolution. I also suggested that, along with the political revolution, there was a revolution in sensibility, in attitudes to the emotions, to women, to sexual relations and to children. I will say more about childhood next time. In the second half of this lecture, I want to return to that remark of A. W. Schlegel concerning Goethe’s Sorrows of Young Werther, which I quoted last time: the novel, he said, was ‘a declaration of the rights of feeling’. Rousseau, too, offered such a declaration in the form of a novel: [2] his Nouvelle Héloïse was the most widely read and widely imitated novels of the eighteenth century. The historian of the book Robert Darnton reckons that it was the bestselling secular book of the entire century, with over seventy editions in print by 1800. The story goes that it was so popular that publishers could not print enough copies to keep up with the demand, so they rented it out by the day or even the hour. Rousseau was overwhelmed with fan mail, telling him of the tears, swoons and ecstasies provoked in his readers. A modern reworking of the medieval story of Héloïse and Abelard, it tells the story of a passionate love affair that crosses the boundaries of class, religious piety and decorum. -
Download a Shakespeare Play to Your Iphone Or Justice to His Life
Professor Jonathan Bate CBE FBA is Provost, Worcester College, University of Oxford. A video of Jonathan Bate extracts from this interview can be found via www.britishacademy.ac.uk/prosperingwisely/bate Q What was the initial spark that made you want to study literature, and Shakespeare in particular? Jonathan Bate It all began at school. I remember the first Shakespeare I did at school was Othello; it was at the time of O-Level. The teacher made us listen to a very old gramophone record, and it was absolutely terrible and I didn’t understand a word of it. But then I started going to the theatre, and suddenly it clicked. We had a very good drama teacher, and I played the part of Macbeth when I was 16, and that was it. There was something about the language of Shakespeare that just grabbed me. There is nothing like performing it, nothing like doing it. I think I still know the whole of Macbeth word-for-word, because I learned the part and you listen to the other parts, and it just enters your skin. Shakespeare was writing for the theatre, he was writing to be performed. And once you see it – or even better, do it – it just comes alive and it stays with you. I am very interested in the classical inheritance of English literature, the way that the renaissance was a great Q discovery of the cultural glories of ancient Greece and So Shakespeare needs to be seen and heard? Rome. Shakespeare, of course, was part of that, because he Jonathan Bate studied the Latin classics at school; they were formative of The key to getting people interested in Shakespeare is him. -
The Public Value of the Humanities
Bate, Jonathan. "Introduction." The Public Value of the Humanities. Ed. Jonathan Bate. London: Bloomsbury Academic, 2011. 1–14. The WISH List. Bloomsbury Collections. Web. 27 Sep. 2021. <http://dx.doi.org/10.5040/9781849662451.0006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 18:11 UTC. Copyright © Jonathan Bate and contributors 2011. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 Introduction Jonathan Bate (University of Warwick) Seven lean cows In chapter 41 of the Book of Genesis, Pharaoh has two troubling dreams. In the fi rst, seven lean cows rise out of the river and devour seven fat cows. And in the second, seven withered ears of grain swallow up seven healthy ears. Pharaoh sends for experts and wise men, but they are unable to interpret these dreams. Then, however, his chief cupbearer tells him of a young captive Jew named Joseph who has proved himself adept in the art of interpretation. Joseph is called for. He suggests that the dreams are predicting that seven years of abundance will be followed by seven years of famine. Pharaoh should accordingly store up surplus food supplies during the good years. He must fi nd a wise and discerning man to take charge of the process. Pharaoh responds by giving the job to Joseph, who builds massive grain stores in the good years, with the result that Egypt thrives during the years of famine – not least by exporting grain to other countries that have not shown such foresight.