DOCSLIB.ORG

Theatre Enters! the Play Within the Play As a Means of Disruption

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre Enters! the Play Within the Play As a Means of Disruption Theatre Enters! The Play within the Play as a Means of Disruption DAVIDE GIOVANZANA 43 ACTA SCENICA Theatre Enters! The Play within the Play as a Means of Disruption DAVIDE GIOVANZANA DAVIDE GIOVANZANA Theatre Enters! The Play within the Play as a Means of Disruption DOCTORAL DISSERTATION Acta Scenica 43 2015 ISBN (print): 978-952-6670-62-1 ISBN (pdf): 978-952-6670-63-8 ISSN (print): 1238-5913 ISSN (pdf): 2242-6485 PUBLISHER: University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre © 2015 University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre and Davide Giovanzana GRAPHIC DESIGN BOND Creative Agency www.bond.fi COVER PHOTO Arttu Eloranta LAYOUT Annika Marjamäki, Edita Prima Ltd PRINTED BY Edita Prima Ltd, Helsinki 2015 PAPER Scandia 2000 Natural 240 g / m2 & Scandia 2000 Natural 115 g / m2 FONTS Benton Modern Two & Monosten Theatre Enters! The Play within the Play as a Means of Disruption DAVIDE GIOVANZANA 43 ACTA SCENICA Contents Acknowledgements 11 Abstract 13 Introduction 15 The play within the play and personal background 15 Subjects of the chapters 20 Methodology 22 Artistic research 23 The context of the play within the play; the 17th century and 20th century 25 Chapter 1: Pirandello Project, a practical and theoretical exploration of the kaleidoscopic quality of reality and the self 29 Luigi Pirandello: reality as theatrical or theatre as real? 31 Naked Masks: fragmenting the self 36 The Mountain Giants: the failure of poetry 38 The process: embodying silence and infinity 40 Mask acting workshop 44 Puppets and imagination: showing and not showing 46 The invisible observer 49 The double spectator 50 Creating the show: the Pirandello Project, On the Edge of Silence 54 Colonizing the imagination 54 The story (or the tyranny of the plot) 57 The stage and its different spaces 59 The play within the play in the Pirandello Project 61 Conclusion 63 Chapter 2: The Invisible Stage, a practical and theoretical study about division and observation 65 First part: The separation between the spectators and the actors and the attempt to overcome this division 69 The gathering 69 Are the spectators watching the actors or themselves? 72 The “mystified” spectator 75 Recognition 78 Second part: A Spanish Play and The Author 82 The split between actor and character 82 The withdrawal of the stage 88 Third part: the practical work 94 The unexpected event 94 The script of The Invisible Stage 102 Conclusion 126 Chapter 3: To play with the play, an examination of the contemporary shift of the play within the play 133 Playing with conventions 136 A comedy 136 A tragedy 140 Playing with discourses 145 Shared space/Imaginary space 150 Playing with mediums 153 Playing with the limits 157 Re-examining Pirandello Project and The Invisible Stage as an interplay of spaces 158 Chapter 4: Theatre Enters! 165 The re-entry 166 Theatre exploring its limits 171 Theatre as its own frame 176 Unfolding “reality” 178 The “in-between” 181 “Opening” the circle 183 Chapter 5: The Staging of Power 187 The play within the play within the power 191 Dialectic and resistance 193 The Reality of Theatricality 199 Flattening the Stage 201 “Theatricality” legitimizing power 204 Representation and Seduction 206 The play within the play as a process 208 Conclusion 211 Bibliography 214 Performance examined in Chapter 1 217 Performance examined in Chapter 2 217 Performance examined in Chapter 3 217 THEATRE ENTERS! THE PLAY WITHIN THE PLAY AS A MEANS OF DISRUPTION 11 Acknowledgements I would like to thank my supervisors, Anna Thuring and Esa Kirkopelto for their stimulating and challenging insights. Without their constant inquiry and support this research would not have been possible. I would like to thank my experts, Simon Murray and Thanos Vovolis, who have followed the research process during all these years. Their feedbacks after each practical work and after the first version of the thesis, helped me to clarify and develop my work. I would like to thank Teatteri Metamorfoosi, especially Soile Mäkelä, Tanja Eloranta, Miska Kajanus, Roosa Hannikainen, Johanna Kultala, Linda Lemmetty, Elina Putkinen, Toni Lehtola, Maija Ruuskanen, Katerina Fojtikova, Henni Siltaniemi, Antti Helminen, Jenny Nordlund, Juha Sääski, Tuomas Tulikorpi, Jaakko Kiljunen, Aliisa Hautavita, Jani-Petteri Olkkonen. Without them, the two practical works would not have been possible. I would like to thank Kriszta Maher-Zsitvay, for correcting the grammar and making the text more fluid. I would like to thank the Kone foundation, the city of Helsinki and Tutke for their financial support. Finally, I wish to thank my daughter Zoe, who reminded me that playfulness is a priority in life. DAVIDE GIOVANZANA 12 THEATRE ENTERS! THE PLAY WITHIN THE PLAY AS A MEANS OF DISRUPTION 13 Abstract This artistic research analyses a specific dramaturgical phenomenon defined as “the play within the play”, which introduces a second story inside the main drama. Traditionally the play within the play has been understood as a paradigm of theatrum mundi (17th century) and of postmodern self-reflexivity (20th century). Starting from this recognition the research questions how the “nature” of this device has changed so drastically, and explores if it is possible to point out continuity in this device throughout the different historical periods. Probably something more crucial and therefore more compromising is at stake when this device is applied, in the act of re-telling a story, of being redundant, of placing actors behaving like spectators in front of the audience. For when an inside play begins, it is not simply new characters that enter the stage presenting another story, but it is theatre itself that enters! This research offers a different reading of the play within the play by referring to Samuel Weber’s deconstructivist approach to theatre drama, George Forestier’s formalistic analysis of the play with the play, Denis Guénoun’s political interpre- tation of theatre and Luigi Pirandello’s work, and comparing these theoretical ex- aminations with two practical works focusing on this device. It explores a political interpretation of this device and suggests that the play within the play can be a tool that intrudes into the authoritarian discourse from within the authoritarian discourse. It is therefore a means that disrupts power playfully, from within. In addition to the content of the research, the text also proposes a stimulating insight: that in fact the artistic research is not something happening outside this text, in a rehearsal room or in a studio. This thesis is not a silent witness to the process, on the contrary, it is part of the process; it has ignited the whole work. Chapter after chapter it is possible to notice the concretization of an intuition into a rousing concept: a theoretical question leading to practical work, which in return opened a new horizon and thus led to a new question. Therefore the thesis can also be read not so much as a report of an artistic research but as the becoming of an artistic research. DAVIDE GIOVANZANA 14 THEATRE ENTERS! THE PLAY WITHIN THE PLAY AS A MEANS OF DISRUPTION 15 Introduction The play within the play and personal background This artistic research analyses a specific dramaturgical phenomenon, defined as “the play within the play”, which introduces a second story (or second play) inside the main drama. A theatrical event, or a show already displays a level of representation1 in which the performers (or the fictional characters) are evolving in front of (or with) the audience. The implicit question then is: what happens when a playwright introduces a second level of representation? What happens when, within a play, some actors start performing for other actors? What hap- pens when another level of illusion is added to the first one? Even from these few questions, it is clear that the act of introducing a play within a play is a complex phenomenon that uncovers deeper meanings related to theatre (as the act of showing something to someone else). At the same time, contemporary theatre seems to refute the artifice of creat- ing an “illusion” of reality; both theatre directors and playwrights seem to deny it. However, while analysing the structure of some contemporary performances refuting illusion, I noticed that many of them reuse strategies of the play within the play. It seems then to be a paradox in which performances attempting to “destroy” illusion actually employ models used for “squaring” illusion. Therefore I concluded that something essential to the nature of theatre and thus of the- atricality2 must be present in this particular device, something that cannot be simply ignored (or dismissed) when it comes to theatre. 1 In this research I am not entering into the debate about “representation” as “Vorstellung” (creating an image) in contrast with “presentation” as “Darstellung” (presenting in front). I simply use it as a technical term, as a synonym for “show”. 2 The concept of ”theatricality” brings forward several issues, which can even be in contrast. The fourth chapter of this thesis discusses largely this subject, especially from the point of view of Samuel Weber. However, this research remains in the domain of theatre and therefore I am not taking into consideration the sociological aspect of theatricality, nor do I enter into the debate to distinguish it from “performativity”. “Theatricality” here needs to be considered in a strict relation DAVIDE GIOVANZANA 16 Usually the play within the play is perceived as a device addressing issues of representation and introducing a meta-theatrical discourse. Although these approaches to the play within the play are fascinating and inspiring, this research, instead, aims to propose an alternative reading of the play within the play, which explores a political interpretation of this device.
Load more

Recommended publications
  • Teacher Resource Pack I, Malvolio
    TEACHER RESOURCE PACK I, MALVOLIO WRITTEN & PERFORMED BY TIM CROUCH RESOURCES WRITTEN BY TIM CROUCH unicorntheatre.com timcrouchtheatre.co.uk I, MALVOLIO TEACHER RESOURCES INTRODUCTION Introduction by Tim Crouch I played the part of Malvolio in a production of Twelfth Night many years ago. Even though the audience laughed, for me, it didn’t feel like a comedy. He is a desperately unhappy man – a fortune spent on therapy would only scratch the surface of his troubles. He can’t smile, he can’t express his feelings; he is angry and repressed and deluded and intolerant, driven by hate and a warped sense of self-importance. His psychiatric problems seem curiously modern. Freud would have had a field day with him. So this troubled man is placed in a comedy of love and mistaken identity. Of course, his role in Twelfth Night would have meant something very different to an Elizabethan audience, but this is now – and his meaning has become complicated by our modern understanding of mental illness and madness. On stage in Twelfth Night, I found the audience’s laughter difficult to take. Malvolio suffers the thing we most dread – to be ridiculed when he is at his most vulnerable. He has no resolution, no happy ending, no sense of justice. His last words are about revenge and then he is gone. This, then, felt like the perfect place to start with his story. My play begins where Shakespeare’s play ends. We see Malvolio how he is at the end of Twelfth Night and, in the course of I, Malvolio, he repairs himself to the state we might have seen him in at the beginning.
    [Show full text]
  • Hamletmachine” by Heiner Müller
    Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 8, No. 4, December 2019 DOI: 10.7596/taksad.v8i4.2381 Citation: Kolpakova, S. G., Gataullina, V. L., & Smyslova, E. V. (2019). Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller. Journal of History Culture and Art Research, 8(4), 313-319. doi:http://dx.doi.org/10.7596/taksad.v8i4.2381 Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller Svetlana Georgievna Kolpakova1 Veronika Lubimovna Gataullina2 Ekaterina Vladimirovna Smyslova3 Abstract In terms of postmodernism а classical plot becomes more active, mobile and begins to travel through the cultural discourses in different social and political channels, thereby indirectly achieving its full inner creative potential in the minds of "postmodern" readers. The paper focuses on Müller’s "Hamletmachine" which uses the Shakespearean plot. The authors of the article explore the new features introduced by the writer into the classic plot by placing it in postmodern principles (game, changes of meanings, rhizome, blissful ignorance of consumer society) which are woven together in a syncretic way. Müller masterfully uses these devices to transmit the political ideas and describe the history of communism and the historical events. The comparative method in combination with complex descriptive analysis of the text is chosen as the main methodology. The aim of the study is to find out what purposes and what political events Müller involves
    [Show full text]
  • Encountering Shakespeare with Tim Crouch
    “This is you”: Encountering Shakespeare with Tim Crouch by Sara Soncini By general consensus, Tim Crouch is one of the most innovative theatre-makers to have emerged on the UK scene during the last decade or so. His work has attracted considerable critical attention both nationally and internationally, giving rise to a sizeable and ever expanding body of academic analysis. Starting with his multi-award- winning production of An Oak Tree (2005), Crouch’s plays have toured extensively and they are regularly performed in translation in a wide range of European countries, where they have been invariably hailed as a token of the vigour and vibrancy of British new writing. The fact that roughly one half of Tim Crouch’s dramatic output to date is a reworking of Shakespearean sources is a telling indication of the continued centrality of his theatrical voice on the 21st-century stage. Yet while critics usually remark upon the continuities – in terms of objectives, methods and techniques – between Crouch’s Shakespeare project and the rest of his production (see e.g. Rebellato 2016), the specific cultural meaning of his adaptations as a form of creative engagement with Shakespeare has only been cursorily addressed in the available scholarship. This is arguably a consequence of the particular slant of the project and its perceived specialized nature. Now a cycle of five solo plays, Tim Crouch’s I, Shakespeare was initially instigated by a commission from the Brighton Festival to introduce Shakespeare to a young audience. The brief resulted in I, Caliban (2003), a retelling of Saggi/Ensayos/Essais/Essays Will forever young! Shakespeare & Contemporary Culture – 11/2017 22 The Tempest from the point of view of Shakespeare’s outcast for children aged 8+.
    [Show full text]
  • Book of Abstracts
    ABSTRACTS AND BIOGRAPHIES Thursday, October 11, 2018 9.45 PANEL: Across Languages Chair: Claire Hélie (Lille University) 1. Maggie Rose (Milan University) Importing new British plays to Italy. Rethinking the role of the theatre translator Over the last three decades I have worked as a co-translator and a cultural mediator between the UK and Italy, bringing plays by Alan Bennett, Edward Bond, Caryl Churchill, Claire Dowie, David Greig, Kwame Kwei-Armah, Hanif Kureishi, Liz Lochhead, Sabrina Mahfouz, Rani Moorthy, among others,to the Italian stage. Bearing in mind a complex web of Italo-British relations, I will discuss how my strategies of cultural mediation have evolved over the years as a response to significant changes in the two theatre systems. I will explore why the task of finding a publisher and a producer\director for some British authors has been more difficult than for others, the stage and critical success of certain dramatists in Italy more limited. I will look specifically at the Italian ‘journeys’ of the following writers: Caryl Churchill and my co-translation of Top Girls (1986) and A Mouthful of Birds, Edward Bond and my co-translation of The War Plays for the 2006 Winter Olympics in Turin and Alan Bennett and my co-translation of The History Boys at Teatro Elfo Pucini from 2011-3013, at Teatro Elfo Puccini and national tours. Maggie Rose teaches British Theatre Studies and Performance at the University of Milan and spends part of the year in the UK for her writing and research. She is a member of the Scottish Society of Playwrights and her plays have been performed in the UK and in Italy.
    [Show full text]
  • David Greig's Theatre
    THE “POLETHICS” OF THE MEDIATED/TIZED SPECTATOR IN THE GLOBAL-TECHNOLOGIZED AGE: DAVID GREIG’S THEATRE Verónica Rodríguez Universidad de Barcelona Abstract: Contemporary Scottish playwright David Greig’s dramaturgy has been concerned with the massive changes wrought across the world by neoliberal globalization in the last two decades. A political triple turn comprising ethics, the media and the spectator, and a shift between the notion “‘mediatized’ reiterative ‘expectator’” to “mediated performing spectator” within the “polethic” frame of ‘relationality’ in Greig’s works are argued in this article. It is further argued that the plays examined (Damascus, The American Pilot, Brewers Fayre and Fragile) use productive strategies like diffusion, reversibility and interchangeability, which foreground the asymmetries of the global/technologized age “polethically” mediating the global performing spectator. Key Words: Globalization, David Greig, Media, Spectator, Ethics, Politics. Recibido: 18/07/2012 Aceptado: 05/09/2012 TRIPLE TURN: ETHICS, MEDIA & SPECTATORSHIP IN THE GLOBAL-TECHNOLOGIZED AGE In his short review of Michael Kustov’s Theatre@risk, David Greig states that “[t]he thrust of Kustow’s argument is that in a corporate, mediated, screened world the last public space – public in the true sense – is the theatre” (Glasgow Sunday Herald)1 adding that he shares “his passion and confidence that theatre is the necessary art form of the century” (ibid.). Greig’s theatre emerges as a creative response in this milieu by raising questions around the role of ethics, the media and spectators in the context of the global-technologized age when the idea of the nation is being 1 This review appears at the beginning of the 2000’s Methuen edition of Kustov’s Theare@risk.
    [Show full text]
  • Laughing out Young: Laughter in Evan Placey's Girls Like That And
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 19 | 2019 Rethinking Laughter in Contemporary Anglophone Theatre Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016) Claire Hélie Electronic version URL: http://journals.openedition.org/miranda/20064 DOI: 10.4000/miranda.20064 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Printed version Date of publication: 7 October 2019 Electronic reference Claire Hélie, “Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016)”, Miranda [Online], 19 | 2019, Online since 09 October 2019, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/20064 ; DOI: https://doi.org/10.4000/ miranda.20064 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays... 1 Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016) Claire Hélie 1 Evan Placey1 is a Canadian-British playwright who writes for young audiences; but unlike playwrights such as Edward Bond, Dennis Kelly or Tim Crouch, he writes for young audiences only. Some of his plays target young children, like WiLd! (2016), the monologue of an 8-year-old boy with ADHD (Attention Deficit Hyperactivity Disorder), other young adults, like Consensual (2015), which explores the grey area between rape and consent. His favourite audience remain teenagers and four of the plays he wrote for them were collected in Girls Like That and Other Plays for Teenagers in 2016.
    [Show full text]
  • The Hamlet Zone
    The Hamlet Zone The Hamlet Zone: Reworking Hamlet for European Cultures Edited by Ruth J. Owen With an Afterword by Ton Hoenselaars The Hamlet Zone: Reworking Hamlet for European Cultures, Edited by Ruth J. Owen This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Ruth J. Owen and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3974-4, ISBN (13): 978-1-4438-3974-7 CONTENTS List of Illustrations .................................................................................... ix Notes on Contributors................................................................................. xi Acknowledgements .................................................................................. xv Note on Translations ............................................................................... xvii Introduction ................................................................................................. 1 The Hamlet Zone Ruth J. Owen Chapter One................................................................................................. 7 Performance as Ironic Supplement: Portuguese Hamlet and
    [Show full text]
  • Daubnerová's Ninth: Masterpiece
    Daubnerová’s Ninth: Masterpiece by Jana Wild - Svět a divadlo, Issue 6, 2020 The title of Daubnerová’s latest independent produCtion Masterpiece is meant to be inevitably ironiC. The audienCe at the premiere undoubtedly realised that. Simultaneously, however, judging by the numerous immediate, and one Could even say moved, reactions from her Colleagues (and namely women Colleagues), the audienCe embraced Daubnerová’s performanCe as a true pinnacle of her worK - as a masterpieCe. Even numeriCal symbolism offers itself to this: performanCe number nine, the peak, after whiCh, similarly to symphonies, it is both mentally and physiCally impossible to Continue. The facts seemingly ContradiCt that, however. On one hand, Sláva Daubnerová still seems liKe a youthful middle-aged performer (40), and on the other hand, solo performanCe Can seem liKe a miCrogenre that in no way meets the Criteria nor the vastness of a symphony. Indeed, if we are to stay in the realm of theatre, the sCale of a symphony is muCh Closer to that of an opera and Daubnerová has done several of those as a direCtor and is yet to do some more. So - why the pathos? Why the sadness? Why the irony in the name? Daubnerová intended, thematized and ConCeptualised Masterpiece as her farewell from the very beginning - a farewell to her solo independent original projeCts of the singular union of an author, performer, direCtor, artist, and produCer. It is worth mentioning that she was Creating independent performanCe art projeCts every year from 2006 to 2012: Cells, Hamlet-Machine, M.H.L., Polylogue, Illuminarium, Some Disordered Interior Geometries, Untitled, after three years Solo Lamentoso (2015), and after five more her final Masterpiece.
    [Show full text]
  • Cambridge University Press 978-0-521-89888-1 — Shakespeare Survey Edited by Peter Holland Index More Information
    Cambridge University Press 978-0-521-89888-1 — Shakespeare Survey Edited by Peter Holland Index More Information INDEX NOTE: Figures in italics denote illustrations. Abbott, E. A., 380 Aubaile, David, 253 Bateson, Gregory, 22n27 Abela, Alexander, 239–55 Auden, W. H., 14n5 Baudrillard, Jean, 123, 124 Abraham, F. Murray, 332, 333 Auslander, Philip, 148n4, 148n5, 150n10, Baughan, Jason, 338 Ackroyd, Peter, 290n3, 290n5, 298n23 153–4, 155, 156, 156n27 Bauman, H. Dirksen L., 75n6, 87n25 Adams, Jonathan, 60 Austen, Jane, 281 Bauman, Zygmunt, 251 Adelman, Janet, 107, 110n24, 110n25 Austin, Gilbert, 7, 10–11 Baxendale, Helen, 236n34 Adorno, Theodor, 122 Austin, J. L., 229 Baxter, Frank, 181, 189–90, 193, 198 Aebischer, Pascale, 214–26n8, 228n9 Axelrod, George, 135n8 Bazin, Andre,´ 117, 118, 123 Aesop, 256n4, 257n5 Beale, Simon Russell, 319, 350, 383 Ahlquist, Karen, 32–3 Baddeley, Angela, 183, 189 Beatles, 233 Ahmad, Aijaz, 255n55 Bagshaw, Christopher, 137n13 Beattie, Maureen, 98 Alagna, Roberto, 28, 29n14 Bailey, Lucy, 350, 357 Beatty, John Lee, 331 Alberg, Mildred Freed, 41–2, 45n34 Bain, A. W., 402 Beaumont, Francis, 369 Alexander, William, 393 Bakare, Ariyon, 352 Beck, Alan, 170n1 Allen, Mary Hope, 171–3, 178–9 Baker, Russell, 210 Beck, Ulrich, 246, 251 Almereyda, Michael, 23, 116, 122–5, Bakewell, Joan, 205n26 Beebe, Lucius, 38 129–30n67, 133, 151, 154n19, Bakhtin, Mikhail, 227 Beerbohm Tree, Herbert, 23 158, 384 Balfour, Ian, 250n35 Beldon, Eileen, 172 Altman, Rick, 15n9, 16n12, 17n14, Bancroft, Squire, 11n41 Bell, Alexander Graham, 10 18n18, 163, 166n38 Bandamanna Saga, 272 Bell, Alexander Melville, 10 Ambales Saga, 278–9 Bannerman, Andrew, 91 Bell, Charles, 8, 9 Anderson, Judith, 40, 55 Bannister, John, 7–8 Bell, George Joseph, 3, 8–11 Andrew, Dudley J., 117n8 Barber, C.
    [Show full text]
  • Rewriting Shakespeare's Plays for and by the Contemporary Stage 3 Becomes the Constant Object of Actors’ Investigation
    Rewriting Shakespeare’s Plays For and By the Contemporary Stage Rewriting Shakespeare’s Plays For and By the Contemporary Stage Edited by Michael Dobson and Estelle Rivier-Arnaud Rewriting Shakespeare’s Plays For and By the Contemporary Stage Edited by Michael Dobson and Estelle Rivier-Arnaud This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Michael Dobson, Estelle Rivier-Arnaud and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8280-1 ISBN (13): 978-1-4438-8280-4 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Meaning and Motivations for a Contemporary Appropriation of Shakespeare’s Drama PART ONE: The Rewriting Process under Scrutiny and its Stakes Chapter One ............................................................................................... 11 Unlearning Tradition: William Shakespeare’s King Lear, Jane Smiley’s and Jocelyn Moorhouse’s A Thousand Acres Anne-Kathrin Marquardt Chapter Two .............................................................................................
    [Show full text]
  • Les Auteurs Dramatiques Anglais Contemporains À L'épreuve Des Pratiques Collaboratives
    Document generated on 10/02/2021 2:33 a.m. Tangence Les auteurs dramatiques anglais contemporains à l’épreuve des pratiques collaboratives Contemporary English playwrights’ testing of collaborative practices Séverine Ruset Questions d’auctorialité sur les scènes contemporaines Article abstract Number 121, 2019 Although the figure of the author remains retains significant authority in contemporary English theatre, which traditionally accords a place of choice to URI: https://id.erudit.org/iderudit/1070453ar new dramatic writing, it has been undermined since the early 21st century by DOI: https://doi.org/10.7202/1070453ar a notable increase in collaborative practices. Founded on an analysis of playwrights’ discourses regarding their role (as it falls to them, but also as they See table of contents lay claim to it), this article examines how these evolutions affect the status of authors within the English theatre world or, more precisely, the recognition and valorization system they belong to and whose outlines they help reshape through their positions. It focuses, notably, on the development of a Publisher(s) collaborative stance that is particularly evident in the will expressed by a Tangence growing number of authors not to relinquish their authority, but to share it a bit more, at least, with both their artistic collaborators and the spectators. ISSN 1189-4563 (print) 1710-0305 (digital) Explore this journal Cite this article Ruset, S. (2019). Les auteurs dramatiques anglais contemporains à l’épreuve des pratiques collaboratives. Tangence, (121), 81–102. https://doi.org/10.7202/1070453ar Tous droits réservés © Tangence, 2019 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • Exegesis for Phd in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach
    Exegesis for PhD in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach INTRODUCTION In this exegesis I present my PhD project which shows the transformation from a recording of a neoclassical ballet performance Hamlet into a post-postmodern artistic dance video Hamlet Revisited. I decided to turn to my own choreography of the ballet Hamlet which premiered at the Croatian National Theatre in Zagreb in 2004, in order to revise it with a goal to demonstrate the neoclassical and the contemporary postmodern approach, following the research question: How to transform an archival recording of a neoclassical ballet performance into a new artistic dance video by implementing postmodern philosophical concepts? This project is a result of my own individual transformations from a principal dancer who choreographs the leading role for himself, into a more self-reflective mature artist as a result of aging, the socio-political changes occurring in my working and living environment, and my academic achievements, which have exposed me to the latest philosophical and theoretical approaches. Its significance lies in establishing communication between neoclassical and postmodern approaches, resulting in a contemporary post-postmodern artistic work that elucidates the process in the artist's mind during the creative practice. It complements my artistic and scholarly work and is an extension built on my previous achievements implementing new comprehensions. As a life-long ballet soloist and choreographer my area of interest is the performing arts, primarily ballet and dance and the dualism between the abstract and the narrative approaches 1 Exegesis for PhD in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach to ballet works1.
    [Show full text]