Theatre Reviews
Total Page：16
File Type：pdf, Size：1020Kb
REVIEWERS Imke Lichterfeld, Erica Sheen INITIATING EDITOR Mateusz Grabowski TECHNICAL EDITOR Zdzisław Gralka PROOF-READER Nicole Fayard COVER Alicja Habisiak Task: Increasing the participation of foreign reviewers in assessing articles approved for publication in the semi-annual journal Multicultural Shakespeare: Translation, Appropriation and Performance financed through contract no. 605/P-DUN/2019 from the funds of the Ministry of Science and Higher Education devoted to the promotion of scholarship Printed directly from camera-ready materials provided to the Łódź University Press © Copyright by Authors, Łódź 2019 © Copyright for this edition by University of Łódź, Łódź 2019 Published by Łódź University Press First Edition W.09355.19.0.C Printing sheets 12.0 ISSN 2083-8530 Łódź University Press 90-131 Łódź, Lindleya 8 www.wydawnictwo.uni.lodz.pl e-mail: [email protected] phone (42) 665 58 63 Contents Contributors ................................................................................................... 5 Nicole Fayard, Introduction: Shakespeare and/in Europe: Connecting Voices ................................................................................................ 9 Articles Nicole Fayard, Je suis Shakespeare: The Making of Shared Identities in France and Europe in Crisis .......................................................... 31 Jami Rogers, Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012 .......................................................................................... 55 Robert Gillett, King John in the “Vormärz”: Worrying Politics and Pathos ... 71 Keith Gregor, Transversal Connections: The Cervantes Quatercentenary in Spain and its Comparison with “Shakespeare Lives” ................... 91 Magdalena Cieślak, “I fear I am not in my perfect mind.” Jan Klata’s King Lear and the Crisis of Europe ................................................... 107 Stephen O’Neill, Finding Refuge in King Lear: From Brexit to Shakespeare’s European Value ......................................................... 119 Nicole Fayard, “Making Things Look Disconcertingly Different”: In Conversation with Declan Donnellan ................................................ 139 Book Reviews Yarong Wu: Krystyna Kujawińska Courtney and Grzegorz Zinkiewicz, eds., Shakespeare: His Infinite Variety (Łódź: Łódź University Press, 2017. Pp. 204) ......................................................................... 161 Eleonora Ringler-Pascu: Michael Thomas Hudgens, The Shakespeare Films of Grigori Kozintsev (Newcastle upon Tyne: Cambridge Scholars Publishing, 2017. Pp. xi+146) ............................................ 165 4 Contents Hisao Oshima: Yoshiko Kawachi, Shakespeare: A World Traveler (Chuokoron Jigyoshuppan, 2018. Pp. 196) ........................................ 169 Mengtian Cui: Lu Gusun, Ten Lectures on Shakespeare Studies; Shashibiya Yanjiu Shijiang 莎士比亚研究十讲 (Shanghai: Fudan University Press, 2017. Pp. 230) ....................................................... 174 Coen Heijes: Paul Franssen, Shakespeare’s Literary Lives. The Author as Character in Fiction and Film (Cambridge: Cambridge University Press, 2016. Pp. 276) ....................................................... 179 Theatre Reviews Eleni Pilla: Richard III. Dir. Paris Erotokritou. Cyprus Theatre Organization, Nicosia, Cyprus .......................................................... 183 Xenia Georgopoulou: Othello. Dir. Charis Fragoulis. Art Theatre Karolos Koun, Athens, Greece ....................................................................... 187 Contributors Magdalena Cieślak is an assistant professor in the Institute of English Studies at the University of Łódź. She specializes in Renaissance drama, Shakespeare and his contemporaries, and the relationships between literature and popular media in the context of new historicism and cultural materialism, feminism, gender studies, and queer theory. She has published articles on adaptations and appropriations of Shakespeare’s plays in cinema and on television, as well as on political ideologies of theatrical productions of Shakespeare’s plays. She has recently published Screening Gender in Shakespeare’s Comedies. Film and Television Adaptations in the Twenty-First Century (Rowman and Littlefield, 2019). Mengtian Cui (PhD, Peking University) is a lecturer in the School of Foreign Languages and Cultures, Sichuan University, Chengdu, China. Her major research fields are seventeenth-century English literature and history of seventeenth-century England. Her doctoral dissertation is on Milton’s later poetry and she has published two journal articles on Paradise Lost. Declan Donnellan is joint artistic director of Cheek by Jowl and associate director of the Royal National Theatre. Donnellan and his partner, Nick Ormerod, formed Cheek by Jowl in 1981 and he has since directed over 30 productions for the company. Work with Cheek by Jowl includes his cross-gender, colour-blind cast As You Like It with Adrian Lester. He has also staged the English premieres of major European classics by writers such as Racine, Corneille, Lessing and Ostrovski. In 1989, he was made Associate Director of the Royal National Theatre in London, where his productions have included Fuenteovejuna, Sweeney Todd: The Demon Barber of Fleet Street, The Mandate and both parts of Angels in America. In 2000, he formed a company of actors in Moscow, under the auspices of The Chekhov International Theatre Festival, whose productions include Boris Godunov, Twelfth Night, Three Sisters, and The Tempest. These productions have already been seen in more than 25 countries. His book, The Actor and the Target, originally published in Russian (2001), has since been translated into several languages. He has received awards in London, Moscow, Paris and New York, including four Olivier Awards for Director of the Year (1987), Best Director of a Musical (1994), Best Director of a Play (1995), and Outstanding Achievement (1990). In 2004 he was made a Chevalier de l’Ordre des Arts et des Lettres for his work in France, and in 2009 he shared the Charlemagne award with Craig Venter and Archbishop Desmond Tutu. He was awarded an OBE in 2017. 6 Contributors Nicole Fayard is Associate Professor of French at the University of Leicester. Her research interests focus on the politics of the performance, translation and remediation of Shakespeare in France and Europe, with particular reference to cultural memory and transnational identities. Her numerous publications in this field include The Performance of Shakespeare in France since the Second World War: Re-Imagining Shakespeare (Mellen 2006) and Comparative Drama: Over His Dead Body (2016) co-edited with Erica Sheen. Her other research interests focus on the history and politics of gender violence and trauma, social movements and feminist activism in contemporary France. She published Speaking Out. Women Healing From the Trauma of Violence in 2014. Xenia Georgopoulou is Assistant Professor at the Department of Theatre Studies of the University of Athens, Greece. She is author of Issues of Gender in Shakespearean and Renaissance Drama [Ζητήματα φύλου στο θέατρο του Σαίξπηρ και της Αναγέννησης] (2010) and The Body As Text in Shakespeare’s Plays: The Fashioning of the Sexes (2011). Her work deals with Shakespearean and Renaissance drama, and her particular interests include issues of gender and otherness, Shakespearean adaptations and Shakespearean references in modern popular culture. Robert Gillett is Reader in German and Comparative Cultural Studies at Queen Mary University of London. His research interests include German-language literature from 1800 to the present day, feminist and queer studies, and theatre history. He heads the cultural transfer section of QM’s Centre for Anglo-German Cultural Relations, and is reviews editor of its Yearbook Angermion. Keith Gregor teaches English and Comparative Literature at the University of Murcia, Spain and heads a government-funded research project on the reception of Shakespeare’s work in Spanish and European culture. General co-editor with Dirk Delabastita of the “Shakespeare in European Culture” series for John Benjamins, he has written widely on Shakespearean translation and performance in Spain and in the rest of Europe. Editor or co-editor of, amongst other volumes, Shakespeare and Tyranny: Regimes of Reading in Europe and Beyond (2014) and Romeo and Juliet in European Culture (2017), he is also the author of Shakespeare in the Spanish Theatre: from 1772 to the Present (2010). Coen Heijes teaches at the University of Groningen, the Netherlands. He completed MAs in Shakespeare Studies and in Shakespeare & Theatre at the Shakespeare Institute, University of Birmingham. He also holds MAs in English Literature and in Anthropology, and completed his PhD on the impact of history and culture on communication. He wrote/edited/participated in books on the abolishment of slavery, cross-cultural communication and performing early modern drama today. Journal publications include theatre reviews, interviews, and papers on the history Contributors 7 cycle, the reception of Merchant, doubling and the use of music in performance in Shakespeare Bulletin, Multicultural Shakespeare, Theatre Journal, Cahiers Élisabéthains and Shakespeare. Stephen O’Neill is Senior Lecturer in Maynooth University Department of English. His main research interests are in Shakespeare and adaptation, especially in digital cultures. He edited Broadcast Your Shakespeare: