Reinventing the Renaissance Also by Sarah Annes Brown A FAMILIAR COMPOUND GHOST: Allusion and the Uncanny DEVOTED SISTERS: Representations of the Sister Relationship in Nineteenth-Century British and American Literature OVID: Myth and Metamorphosis THE METAMORPHOSIS OF OVID: From Chaucer to Ted Hughes TRAGEDY IN TRANSITION

Also by Robert I. Lublin COSTUMING THE SHAKESPEAREAN STAGE: Visual Codes of Representation in Early Modern Theatre and Culture Reinventing the Renaissance Shakespeare and his Contemporaries in Adaptation and Performance

Edited by Sarah Annes Brown Professor of English Literature, Anglia Ruskin University, UK Robert I. Lublin Chair of Performing Arts, University of Massachusetts, Boston, USA and Lynsey McCulloch Graduate Teaching Assistant, Coventry University, UK

Palgrave macmillan Introduction, selection and editorial matter © Sarah Annes Brown, Robert I. Lublin, Lynsey McCulloch 2013 Individual chapters © contributors 2013 Softcover reprint of the hardcover 1st edition 2013 978-0-230-31385-9 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 978-1-349-33936-5 ISBN 978-1-137-31940-1 (eBook) DOI 10.1057/9781137319401 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. Contents

List of Figures vii Acknowledgements viii Notes on Contributors ix

1 Introduction 1 Sarah Annes Brown, Robert I. Lublin and Lynsey McCulloch

Part I Popular Culture 2 Hamlet: Looking Before and After: Why So Many Prequels and Sequels? 17 Ann Thompson 3 Educating for Pleasure: The Textual Relations of She’s the Man 32 Reina Green 4 ‘Brush up your Shakespeare’: Genre-Shift from Shakespeare to the Screen 47 Kinga Földváry 5 Cinematizing Shakespeare 63 Charles Marowitz

Part II Criticism and Creativity 6 Circulating through ‘languages and tales’: Stephen Greenblatt’s Cardenio 77 Theodora Papadopoulou 7 Peter Ackroyd’s Shakespeare the Biography and Stephen Greenblatt’s Will in the World, or Facts and Fiction about William Shakespeare 92 Urszula Kizelbach 8 The Weird Sisters (from The Life and Death of the Brothers Macbeth) 104 Ewan Fernie and Simon Palfrey 9 ‘You kiss like in a movie’: A Contemporary Translation/Adaptation of Romeo and Juliet 122 Pietro Deandrea

v vi Contents

Part III National Responses 10 At the Threshold – Remembrance and Topicality in Recent Productions of The Merchant of Venice in Germany 143 Zeno Ackermann 11 Kabuki Shakespeare: The NINAGAWA Twelfth Night 162 Seiji Furuya 12 ‘Downright unsaxogrammatical’? – Do Postcolonial Adaptations Contest, or Reinforce Shakespeare’s Canonical Status? 174 Jenni Ramone 13 ‘My dream was lengthened after life’: Ghosts in Michael Boyd’s History Cycle 193 Kate Wilkinson

Part IV Visualizing Performance 14 ‘Four legs and two voices’: An Interview with Édouard Lekston 207 Pascale Drouet 15 Shakespearean Visual Semiotics and the Silver Screen 242 Robert I. Lublin 16 ‘Here’s that shall make you dance’: Movement and Meaning in Bern:Ballett’s Julia und Romeo 255 Lynsey McCulloch

Part V Non-Shakespearean Drama 17 The Duchess of Malfi on Film: Peter Huby’s Quietus 271 Rowland Wymer 18 The Act of Murder: Renaissance Tragedy and the Detective Novel 286 Esme Miskimmin 19 Fishing at the Swan: Swan Theatre Plays and the Shaping of an Interpretive Community 301 Laura Grace Godwin

Select Bibliography 318 Index 320 List of Figures

1 Édouard Lekston, Mon ami William/My Friend William 211 2 Édouard Lekston, Mon ami William/My Friend William 212 3 Édouard Lekston, Mon ami William/My Friend William 213 4 Édouard Lekston, Mon ami William/My Friend William 214 5 Édouard Lekston, Mon ami William/My Friend William 215 6 Édouard Lekston, Family Gathering 217 7 Édouard Lekston, The Swing (Richard II) 219 8 Édouard Lekston, The Swing (Richard II) 220 9 Édouard Lekston, The Swing (Richard II) 221 10 Édouard Lekston, The Swing (Richard II) 222 11 Édouard Lekston, Family Gathering 224 12 Édouard Lekston, Family Gathering 224 13 Édouard Lekston, Family Gathering 225 14 Édouard Lekston, Family Gathering 226 15 Édouard Lekston, Family Gathering 226 16 Édouard Lekston, Family Gathering 227 17 Édouard Lekston, Une île pleine de bruits/An Isle Full of Noises 228 18 Édouard Lekston, Une île pleine de bruits/An Isle Full of Noises 230 19 Édouard Lekston, Une île pleine de bruits/An Isle Full of Noises 231 20 Édouard Lekston, Family Gathering 233 21 Édouard Lekston, Family Gathering 234 22 Édouard Lekston, Une île pleine de bruits/An Isle Full of Noises 235

vii Acknowledgements

We would like to thank all of the participants of the Scaena 2008 confer- ence. A discussion of modern adaptations and performances of Shakespeare and his contemporaries illuminates the world in which we live, and the innovation and quality of the research presented at the conference moti- vated the publication of this volume. Our thanks are also due to Anglia Ruskin University for hosting and supporting the event. Sarah Annes Brown would like to thank all the students, colleagues, and speakers who helped make Scaena 2008 such a successful and enjoyable event, and all the contributors to the volume for their patience during the editing process. Robert I. Lublin would like to thank Sarah and Lynsey for inviting him to join them on this project. It has been a pleasure to have the chance to work with you! I would also like to thank the University of Massachusetts Boston and particularly my department, Performing Arts, for providing me with an exciting place to work, teach, and learn. Final thanks are owed to my wife Elina Cymerman for her patience while I spent weekends writing and editing, and my whole family for their support throughout my career and, indeed, my life. Lynsey McCulloch thanks her fellow editors for their great ideas, hard work, and good humour. Thanks, too, go to Cathy Marston for supplying me with a film version of her ballet, Julia und Romeo, and for humouring my attempt to unpack her brilliant work. I’m also grateful to colleagues at Anglia Ruskin University and Coventry University for their support and I’d like to dedicate this – my first full-length book – to my family and to Rob Tovey. They’ve shown infinite patience!

viii Notes on Contributors

Zeno Ackermann is a Researcher and Lecturer in English Studies at Frankfurt’s Goethe University. He has published on poetics and ideol- ogy in nineteenth-century American literature, the remembrance of the National Socialist past and the Holocaust in Germany, and the reception of Shakespeare in twentieth- and twenty-first-century culture. Currently, he works on the interrelationships between the (British) novel and the mass media. Sarah Annes Brown is Professor of English Literature at Anglia Ruskin University, Cambridge, UK. Her publications include The Metamorphosis of Ovid: From Chaucer to Ted Hughes (1999), Devoted Sisters: Representations of the Sister Relationship in Nineteenth-Century British and American Literature (2003) and A Familiar Compound Ghost: Allusion and the Uncanny (2012). Pietro Deandrea is Associate Professor of English Literature at the University of Torino, Italy. He has published works on postcolonial literature (‘Fertile Crossings: Metamorphoses of Genre in Anglophone West African Literature’, 2002) and is a literary translator. He has recently edited ‘The Journal of William Beckford in Portugal and Spain’. Pascale Drouet is Professor at the University of Poitiers, France. She is the author of two monographs: Le vagabond dans l’Angleterre de Shakespeare, ou l’art de contrefaire à la ville et à la scène (2003) and Mise au ban et abus de pouvoir. Essai sur trois pièces tragiques de Shakespeare (2012). She has edited Shakespeare au XXème siècle: Mises en scène, mises en perspective de Richard II (2007), The Spectacular In and Around Shakespeare (2009) and co-edited ‘The True Blank of Thine Eye’: Approches critiques de King Lear (2008) and Le ban- nissement et l’exil en Europe aux XVIe et XVIIe siècles (2010). She is the editor of the online journal, Les Cahiers Shakespeare en devenir (http://shakespeare. edel.univ-poitiers.fr). Ewan Fernie is Professor of Shakespeare Studies at the Shakespeare Institute, University of Birmingham, UK. He is General Editor (with Simon Palfrey) of the Shakespeare Now! series. His latest book is The Demonic: Literature and Experience. Kinga Földváry is a senior lecturer in the Institute of English and American Studies at Pázmány Péter Catholic University, Hungary. Her main research interests include William Harrison’s Description of Britain, Shakespearean tragedy, problems of genre in film adaptations of Shakespeare’s plays, together with twentieth- and twenty-first-century British literature.

ix x Notes on Contributors

Seiji Furuya is Professor of English Literature at Seinan Gakuin University, Japan and Permanent Director of Fukuoka Japan–British Society and Chairperson of Kyushu Shakespeare Society. His publications include Present Researches on Shakespearean Productions in Japan (in Japanese, Fubaisha, 2010), and a translation of Shakespeare: The Basics by Sean McEvoy (2000) into Japanese (Osaka Kyoiku Tosho, 2007). Laura Grace Godwin teaches theatre history at Christopher Newport University, Virginia. While completing degrees from Ball State University, the Shakespeare Institute in Stratford-upon-Avon, and the University of Illinois at Urbana-Champaign, she was active as a stage manager and dra- maturg. She has held positions at New Mexico State, Parkland College, and with Midwestern State University’s British Studies Program. She has pub- lished in Theater Journal and Shakespeare Bulletin. Reina Green is an Associate Professor of English at Mount Saint Vincent University, Halifax, Canada, where she teaches Renaissance and contem- porary drama. She has published in Early Modern Literary Studies, Studies in English Literature, English Studies in Canada, Theatre Research in Canada, Canadian Theatre Review, and two edited collections by Ashgate. Urszula Kizelbach is based in the Department of English Literature and Literary Linguistics at Adam Mickiewicz University in Poznan´, Poland. She was awarded her PhD in English Literature in 2011. She specializes in liter- ary pragmatics; in particular a pragmatic analysis of Shakespearean drama. She is a review editor of Studia Anglica Posnaniensia: An International Review of English Studies, a quarterly journal issued by the Faculty of English, Adam Mickiewicz University. Robert I. Lublin is Chair of Performing Arts at the University of Massachusetts, Boston. He is the author of Costuming the Shakespearean Stage: Visual Codes of Representation in Early Modern Theatre and Culture (2011) and has published a number of articles on Early Modern English theatre and contemporary drama. Charles Marowitz is a theatre director, playwright and critic. He worked with Peter Brook to produce the Theatre of Cruelty season at the RSC in 1964. His works include a number of free adaptations of Shakespeare’s plays, published collectively as The Marowitz Shakespeare. Marowitz’s other publica- tions include Recycling Shakespeare (2000), The Roar of the Canon (2002), and Murdering Marlowe (2005). Lynsey McCulloch is a Graduate Teaching Assistant in the Department of English and Languages at Coventry University, UK. Her current research focuses on the role of art within literature and the reinterpretation of Renaissance texts as dance works. She is currently developing a monograph Notes on Contributors xi on the figure of the animated statue in Early Modern drama and has recently published an essay on Edmund Spenser’s The Fairie Queene. Esme Miskimmin teaches at the University of Liverpool, UK. She has research interests in Crime Fiction and Shakespeare and occasionally combines the two. Simon Palfrey is Professor of English Literature at Oxford University and Fellow of Brasenose College. His books include Late Shakespeare: A New World of Words (1997), Doing Shakespeare (2005; revised second edition 2011), Shakespeare in Parts (2007, with Tiffany Stern), Romeo and Juliet (2012), and two forthcoming monographs, Shakespeare’s Possible Worlds and Strange Mutations (Chicago). He has written a play, Demons’ Land, inspired by Spenser’s Faerie Queene, and is the founding editor (with Ewan Fernie) of the Bloomsbury series Shakespeare Now! Theodora Papadopoulou completed her PhD at Royal Holloway, University of London, UK in 2010. Her thesis focuses on the subjectivity of Stephen Greenblatt’s critical work and argues for the value of subjectivity in criti- cism. Theodora has taught at Royal Holloway and the University of Cyprus. She is co-editor of Shakespeare and I (2012) and is currently working on a monograph based on her PhD thesis. Jenni Ramone is the author of Postcolonial Theories (2011), Salman Rushdie and Translation (2013), and co-editor of The Richard & Judy Book Club Reader (2011). She is Senior Lecturer in Postcolonial Studies at Nottingham Trent University, UK. Her research interests include translation theory, the public and digital performance of literature, and postcolonial literature and theory, particularly the literature of South Asia, the Middle East, and their diasporas. She is cur- rently engaged in research on postcolonial women’s life-writing. Ann Thompson is Professor of English at King’s College London and has previously taught at Roehampton University and at the University of Liverpool. She is a General Editor of the Arden Shakespeare series and has edited all three texts of Hamlet for that series. She has also edited The Taming of the Shrew for Cambridge and has published books on Shakespeare’s Chaucer and on Shakespearean metaphor. She is currently editing Cymbeline for Norton and working on a book on Shakespearean metonymy. Kate Wilkinson is an Associate Lecturer at Sheffield Hallam University, UK. She was awarded her PhD in 2010 for a thesis on Shakespeare’s history plays in performance. She has published a number of scholarly articles and performance reviews. She has a note forthcoming on allusions to Nathaniel Richards’s Tragedy of Messalina in Shakespeare’s Richard II, and has a chapter on the performance history of Richard III forthcoming in Richard III: A Critical Guide to be published by Continuum. xii Notes on Contributors

Rowland Wymer is a Professor of English at Anglia Ruskin University, Cambridge, UK. His publications include Suicide and Despair in the Jacobean Drama (1986), Webster and Ford (1995), and Derek Jarman (2005), as well as a number of co-edited collections of essays, including Neo-Historicism (2000), The Accession of James I: Historical and Cultural Consequences (2006), and J. G. Ballard: Visions and Revisions (2012). He is currently working on a book on science fiction and religion, and editing The Witch of Edmonton for the Oxford edition of The Collected Works of John Ford.