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Shakespeare and Conflict Shakespeare and Conflict Palgrave Shakespeare Studies General Editors: Michael Dobson and Dympna Callaghan Co- founding Editor: Gail Kern Paster Editorial Advisory Board: Michael Neill, University of Auckland; David Schalkwyk, Folger Shakespeare Library; Lois D. Potter, University of Delaware; Margreta de Grazia, University of Pennsylvania; Peter Holland, University of Notre Dame Palgrave Shakespeare Studies takes Shakespeare as its focus but strives to understand the significance of his oeuvre in relation to his contemporaries, subsequent writers and historical and political con- texts. By extending the scope of Shakespeare and English Renaissance Studies the series will open up the field to examinations of previously neglected aspects or sources in the period’s art and thought. Titles in the Palgrave Shakespeare Studies series seek to understand anew both where the literary achievements of the English Renaissance came from and where they have brought us. Titles include: Pascale Aebischer, Edward J. Esche and Nigel Wheale (editors) REMAKING SHAKESPEARE Performance across Media, Genres and Cultures James P. Bednarz SHAKESPEARE AND THE TRUTH OF LOVE The Mystery of ‘The Phoenix and Turtle’ Mark Thornton Burnett FILMING SHAKESPEARE IN THE GLOBAL MARKETPLACE Carla Dente and Sara Soncini (editors) SHAKESPEARE AND CONFLICT A European Perspective Lowell Gallagher and Shankar Raman (editors) KNOWING SHAKESPEARE Senses, Embodiment and Cognition Stefan Herbrechter and Ivan Callus (editors) POSTHUMANIST SHAKESPEARES David Hillman SHAKESPEARE’S ENTRAILS Belief, Scepticism and the Interior of the Body Anna Kamaralli SHAKESPEARE AND THE SHREW Performing the Defiant Female Voice Jane Kingsley-Smith SHAKESPEARE’S DRAMA OF EXILE Stephen Purcell POPULAR SHAKESPEARE Simulation and Subversion on the Modern Stage Erica Sheen SHAKESPEARE AND THE INSTITUTION OF THEATRE Paul Yachnin and Jessica Slights SHAKESPEARE AND CHARACTER Theory, History, Performance, and Theatrical Persons Palgrave Shakespeare Studies Series Standing Order ISBN 978–1–403–91164–3 (hardback) 978–1–403–91165–0 (paperback) (outside North America only) You can receive future titles in this series as they are published by placing a standing order. Please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address, the title of the series and the ISBN quoted above. Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke, Hampshire RG21 6XS, England Shakespeare and Conflict A European Perspective Edited by Carla Dente and Sara Soncini Introduction, selection and editorial matter © Carla Dente and Sara Soncini 2013 Individual chapters © contributors 2013 Foreword ©Ton Hoenselaars 2013 Softcover reprint of the hardcover 1st edition 2013 978-0-230-34327-6 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-34463-5 ISBN 978-1-137-31134 (eBook) DOI 10.1057/ 9781137311344 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. 10 9 8 7 6 5 4 3 2 1 22 21 20 19 18 17 16 15 14 13 Contents List of Illustrations vii Notes on Contributors viii Foreword by Ton Hoenselaars xiii Acknowledgements xvii List of Abbreviations xix General Introduction 1 Carla Dente and Sara Soncini Part I Conflict in Shakespeare 1 Introduction 17 Paola Pugliatti 2 ‘What country, friends, is this?’ The Performance of Conflict in Shakespeare’s Drama of Migration 24 Sabine Schülting 3 Killing by the Book: Scenes from the Duel Ritual 40 Paola Pugliatti 4 The War of ‘Nothings’ in The Tragedy of King Lear 55 Małgorzata Grzegorzewska 5 Conflict and Convergence in Shakespeare’s Wordplay 68 Georgi Niagolov 6 Stage and Conflict in ‘The Phoenix and the Turtle’ 79 Boris Drenkov Part II Conflict through Shakespeare 7 Introduction 95 Carla Dente 8 Translating Shakespeare in Sociolinguistic Conflicts: A Preliminary European Study 103 Jesús Tronch-Pérez 9 Shakespeare and the Continental Avant- Garde through García Lorca’s El público (1930) 119 Juan F. Cerdá v vi Contents 10 Negotiating the Memory of the ‘People’s War’: Hamlet and the Ghosts of Welfare in A Diary for Timothy by Humphrey Jennings (1944–45) 132 Alessandra Marzola 11 ‘IN THE FEARFUL ARMOUR’: Shakespeare, Heiner Müller and the Wall 145 Miguel Ramalhete Gomes 12 From Individual Conflict to Interlocking Conflicts: Performing The Merchant of Venice for New European Audiences 157 Francesca Rayner 13 Cut’n’mix King Lear: Second Generation and Asian-British Identities 170 Alessandra Marino Part III Shakespeare in Times of Conflict 14 Introduction 187 Manfred Pfister 15 Work of National Importance: Shakespeare in Dartmoor 193 Clara Calvo 16 ‘The play’s the thing’: Hamlet in a Romanian Wartime Political Prison 209 Monica Matei-Chesnoiu 17 ‘A tongue in every wound of Caesar’: Performing Julius Caesar behind Barbed Wire during the Second World War 222 Ton Hoenselaars 18 ‘And, by opposing, end them’: The Rhetoric of Translators’ Polemics 237 Anna Cetera 19 Shakespeare’s Sonnets de profundis 250 Manfred Pfister Select Bibliography 257 Name Index 261 Subject Index 272 List of Illustrations Foreword Fredson Bowers and junior researcher, Matthew Bruccoli at the Hinman Collator. Courtesy of Special Collections, University of Virginia. xv 12.1 Shylock (António Durães) lying on top of Antonio (Albano Jerónimo) in Ricardo Pais’s production of The Merchant of Venice. Porto, Teatro Nacional São João, 2008. Courtesy of the photographer, João Tuna. 164 12.2 Jessica (Sara Carinhas) in Ricardo Pais’s production of The Merchant of Venice. Porto, Teatro Nacional São João, 2008. Courtesy of the photographer, João Tuna. 166 15.1 Concert Party Programme. Dartmoor, 26 September 1917. Courtesy of Special Collections, Leeds University Library. 196 15.2 Fancy Dress Ball. Dartmoor, 4 March 1919. Courtesy of Special Collections, Leeds University Library. 200 15.3 Fancy Dress Ball. Dartmoor, 12 April 1919. Courtesy of Special Collections, Leeds University Library. 201 16.1 Hamlet’s ‘To be or not to be’ soliloquy in a Romanian prison cell. Timis¸oara, 1942. Courtesy of the Romanian Academy Library. 215 16.2 Hamlet, interpreted by Surulescu, in a Romanian prison production. Timis¸oara, 1942. Courtesy of the Romanian Academy Library. 216 17.1 Review of Hans José Rehfisch’s production of Julius Caesar. Sefton Camp, Isle of Man, 1940. Originally published in The Sefton Pioneer, 25 November 1940. Courtesy of Manx National Heritage. 226 18.1 Marsyas and Apollo. The House of Aion, Paphos. Fourth century. Photo by Waldemar Jerke. Courtesy of the Polish Centre of Mediterranean Archaeology of the University of Warsaw. 238 vii Notes on Contributors Clara Calvo is Professor of English Studies at the University of Murcia (Spain). Her research interests include Shakespeare’s afterlives and the role of Shakespeare in a shared European transnational cultural iden- tity. From 1995 to 2005 she was in charge of the stylistics section of The Year’s Work in English Studies. She is the author of Power Relations and Fool- Master Discourse in Shakespeare (1991) and has co- authored, with Jean- Jacques Weber, The Literature Workbook (1998). She has edited, with Ton Hoenselaars, a volume on European Shakespeares for The Shakespearean International Yearbook (2008) and an issue of Critical Survey on Shakespeare and the Cultures of Commemoration (2011). She is currently engaged in two funded research projects on ‘Shakespearean Anniversaries’ and ‘Shakespeare and the First World War’. Juan F. Cerdá is Lecturer at the University of Murcia, Spain. He is a member of the research project ‘Shakespeare in Spain within the Framework of his European Reception’, in which context he has been researching the role of Shakespearean drama in twentieth- century Spanish theatre and film. His latest publications include essays on Shakespeare in García Lorca’s early poems (2011), Shakespearean film adaptations at the time of Franco’s dictatorship (2011), and news paper reviews of Shakespearean
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