DOCSLIB.ORG

Narrative Strategies in Shakespearean Productions on Twenty-First-Century European Stages

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Narrative Strategies in Shakespearean Productions on Twenty-First-Century European Stages NARRATIVE STRATEGIES IN SHAKESPEAREAN PRODUCTIONS ON TWENTY-FIRST-CENTURY EUROPEAN STAGES by STEPHANIE MICHAELA SCHNABEL A thesis submitted to the University of Birmingham for the degree of MASTER OF LITERATURE Shakespeare Institute School of English, Drama and American & Canadian Studies College of Arts and Law University of Birmingham December 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. THESIS ABSTRACT This thesis is on the one hand part of the wider field of ‘European Shakespeare’ studies which have become more and more popular in recent years. On the other hand it attempts to propose a new way at researching ‘Shakespeare’ in such a context, thereby also trying to answer the ever persistent question of how much ‘Shakespeare’ is essential for a performance to be regarded as ‘Shakespearean’? There has been a constant striving for a more trans-national approach in this field –some successful, some futile– and therefore national borders have been disregarded in this research project. This thesis instead focuses on the different kinds of media or narrative strategies employed in theatre: each chapter is concerned with a change in narration. Special attention has been directed towards translations and adaptations of Shakespeare’s plays, on musical versions, on reworkings for children including a small excursion into puppet theatre, on theatrical productions of his poems, on otherness, such as a King Lear in sign language, and on selected productions from Shakespeare Festivals to try and raise awareness of the European Shakespeare Festival Network. This thesis is dedicated to my parents and my grandmother as well as my late grandfather. Without them this research project would not have been possible at all. Words cannot express how grateful I am for their support. ACKNOWLEDGEMENTS This thesis would not have been possible without a number of people. First and foremost, it would not exist without my supervisors Dr Kathryn Prince, now Assistant Professor in the Department of Theatre at the University of Ottawa, with whom I started work on my research project in 2007, as well as Prof. Russell Jackson, Allardyce Nicoll Chair in Drama and Head of the Department of Drama and Theatre Arts at the University of Birmingham, who took over from Kathryn in 2008. Prof. Therese Seidel (now retired), former Head of Department for Early Modern and Modern English Literature at the Heinrich-Heine-Universität Düsseldorf (Germany), as well as Dr Friedrich-Karl Unterweg, lecturer in the same department, raised my initial interest in Shakespeare considerably and as such started a process in 2003 which resulted in this piece of work. Prof. Eugene Giddens, Skinner-Young Professor in Shakespeare and Renaissance Literature and Faculty Director of Research in the Department for English, Communication, Film and Media at Anglia Ruskin University Chelmsford & Cambridge, who supervised me during my semester abroad at Anglia Ruskin, fully supported my plans to come back to the UK for a postgraduate degree at the Shakespeare Institute; to him I owe a sincere thank you as well. In addition to all my friends in the UK and in Germany, who have been very supportive and interested in my work over the past years, another special thank you goes to everyone at the Institute and its library (both staff and students), in particular Dr Martin Wiggins, Rebecca White, Juliet Creese and Karin Brown who helped me through the different problems and crisis which arose in the course of my research. John Settle, the nicest and most wonderful colleague I could have wished for, read parts of this thesis. Thanks a lot for doing that, John! The Malone Society awarded me a bursary for research expenses from October 2007 to October 2010 in exchange for my assistance in selling their publications: thank you so much, I fully enjoyed working with the books and with all the people I met over the years. Another special thank you goes to various people who kindly provided me with material for this thesis, did translations for me or generally allowed me to ask them about their work. They are Carla Dente and Sara Soncini, who sent me a complimentary copy of their Crossing Time and Space, András Szentpéteri from the Operettszínház in Budapest, who sent me recordings and subtitles of their Shakespearean musical versions, as well as Máté Vince, who translated some Hungarian texts for me, Prof. Emil Sirbulescu, Head of the Department for English & American Literature at the University of Craiova (Romania), who kindly offered me his 2010 program of the Shakespeare Festival there, Jerzy Limon, Professor of English at the English Institute, University of Gdansk, President of Theatrum Gendanense Foundation and Managing Director of the Gdansk Shakespeare Theatre, as well as Adelheid von Weiden and Philip Parr, who responded to my enquiries about some aspects of the European Shakespeare Festival Network and its member festivals in Gdansk, Neuss and Bath in particular. The actors Frances Barber, Tim Barlow, Richard Clifford, Martin Hutson and Adam Levy as well as the great director Peter Brook did not mind me asking questions in whatever place and situation I happened to approach them; their answers served to illuminate my own ideas about various practical aspects of my research and I am forever grateful to them for it. Last but not at all least, I am very much indebted to Rev. Dr Paul Edmondson, Head of Research and Knowledge at The Shakespeare Birthplace Trust, for his constant support since I first sent him an email in 2004; without him I would not have reached this stage in my life. Thank you so much, Paul! TABLE OF CONTENTS 1. General Introduction 1 2. Introduction: Shakespeare in translation 8 2.1. Hamlet at the Berliner Ensemble: more a clown than a confused young man 11 2.2. Hamlet in Almagro: never before seen on stage in Spain 19 2.3. André Gide’s Hamlet: a strong sense of clarity for performance purposes 27 3. Introduction: Shakespearean adaptations in performance 34 3.1. Hans Henny Jahnn’s Richard III: not a twisted body but a tortured soul 37 3.2. Falstafe by Valère Novarina: an adaptation of 1&2 Henry IV 43 3.3. Rose und Regen, Schwert und Wunde: A Midsummer Night’s Dream for only five actors 47 3.4. Heiner Müller’s Anatomie Titus – Fall of Rome: a proper adaptation? 52 4. Introduction: Shakespeare’s plays as musicals 58 4.1. Romeo & Juliet: Tybalt – leather clad thug or ill young man? 60 4.2. A Midsummer Night’s Dream: fairies with an identity crisis? 70 4.3. Prince of Denmark: ‘This is Shakespeare’s plot. This is not Shakespeare’s play.’ 79 5. Shakespeare’s plays for children & as puppet theatre 5.1. Introduction: Shakespeare’s plays for children 85 5.1.1. Othello – self-confident general and insecure lover 87 5.1.2. Henry V – a childish feud over a French sandcastle 95 5.1.3. The Winter’s Tale – reflections on theatrical acting 104 5.2. Introduction: Shakespeare’s plays as puppet theatre 113 5.2.1. A German Richard III with a human king and puppets as the rest of the cast 116 5.2.2. Richard III by Teatteri Taiga-Matto (Finland): a mix of different styles 120 6. Introduction: Shakespeare’s poems in performance 125 6.1. Venus and Adonis, or how to combine two different poems 128 6.2. Le Viol de Lucrèce in combination with an ecclesiastical interpretation 135 6.3. Robert Wilson’s and Rufus Wainwright’s collaboration on Shakespeares Sonette 142 7. Introduction: Shakespeare and ‘otherness’ in European productions 157 7.1. Schlingensief’s Hamlet – This is your family in Zürich: neo-Nazis as actors 160 7.2. Alexander Hausvater’s König Cymbeline: German minority theatre in Romania 166 7.3. To each their own: Footbarns Travelling Theatre’s multilingual The Tempest 173 7.4. Hamlet and Macbeth as online home theatre: otherness due to technology 179 7.5. Otherness through silence: a King Lear with deaf and hearing actors 183 7.6. Hamlet in Africa: a story told from Gertrude’s point of view 189 8. Introduction: The idea of Shakespeare tourism & the European Shakespeare Festival Network 195 8.1. Shakespeare Festival im Globe Neuss: Watermill Propeller’s The Winter’s Tale 198 8.2. International Shakespeare Festival in Gdansk with a Turkmen King Lear 204 8.3. Peter Brook’s Love Is My Sin at the Shakespeare Festival Gyula 210 8.4. A work-in-progress Coriolanus at the Shakespeare Unplugged Festival Bath 216 8.5. A Lithuanian Hamlet at the International Shakespeare Festival in Romania 221 9. Conclusion 226 10. Bibliography 233 1. GENERAL INTRODUCTION This collection hopes to open a discourse for a subject much ignored by Anglo-centred Shakespearean commentators. As a first attempt, it cannot pretend to inclusive coverage, whether geographical or canonical, and I certainly do not wish to suggest that it somehow contains its topic. I have selected essays that are provocative in that they make different kinds of entrances. […] What they do share is a concern for how Shakespeare appears and works on stage and in the mind in countries that lie beyond the usual exploration of critics and performance historians.
Load more

Recommended publications
  • Innovations 2020 Legend
    THE WORLD OF LAPP Innovations 2020 Legend Industries Product characteristics Automation Suitable for outdoor use Power chain Good chemical e-Mobility Clean room resistance Food & Beverage Flame-retardant Robust Mechanical and Wide clamping range Acid-resistant Plant Engineering Oil & Gas Halogen-free Reliability Integrated Rail Heat-resistant SKINTOP® cable gland Solar Energy Cold-resistant Voltage Connector with Wind Energy Corrosion-resistant standard housing unit Maximum vibration Interference signals protection Mechanical resistance Temperature-resistant Assembly time Torsion-resistant Please note: Low weight Torsion load The purpose of the icons is to provide you with a quick overview and a rough indication of the Oil-resistant UV-resistant product features to which the corresponding information relates. You can find details of product Optimum strain relief Waterproof characteristics in the “technical data” sections on the product Variety of approval pages. Space requirement certifications Content Content . Company information. 2 ÖLFLEX® . Power and control cables . 6 ETHERLINE® Data communication systems . for Ethernet technology . 13 HITRONIC® . Optical transmission systems. 16 EPIC® . Industrial connectors . 18 SKINTOP® . Cable glands. 23 FLEXIMARK® . Marking systems . 30 . Tools and cable accessories . 33 1 Andreas Lapp, Matthias Lapp, Ursula Ida Lapp, Alexander Lapp, Siegbert Lapp. 2 Family On course for success Family business and global player Success built on family values staff around the world, as well as LAPP is both. The history of our company At LAPP, we maintain values that the reliable partnership with our has been one of success and expansion promote cooperation and enable customers. ever since it was founded in 1959 by relationships with employees, suppliers Ursula Ida and Oskar Lapp.
    [Show full text]
  • View in Order to Answer Fortinbras’S Questions
    SHAKESPEAREAN VARIATIONS: A CASE STUDY OF HAMLET, PRINCE OF DENMARK Steven Barrie A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Dr. Stephannie S. Gearhart, Advisor Dr. Kimberly Coates ii ABSTRACT Dr. Stephannie S. Gearhart, Advisor In this thesis, I examine six adaptations of the narrative known primarily through William Shakespeare’s The Tragedy of Hamlet, Prince of Denmark to answer how so many versions of the same story can successfully exist at the same time. I use a homology proposed by Gary Bortolotti and Linda Hutcheon that explains there is a similar process behind cultural and biological adaptation. Drawing from the connection between literary adaptations and evolution developed by Bortolotti and Hutcheon, I argue there is also a connection between variation among literary adaptations of the same story and variation among species of the same organism. I determine that multiple adaptations of the same story can productively coexist during the same cultural moment if they vary enough to lessen the competition between them for an audience. iii For Pam. iv ACKNOWLEDGMENTS I would like to thank my advisor, Stephannie Gearhart, for being a patient listener when I came to her with hints of ideas for my thesis and, especially, for staying with me when I didn’t use half of them. Her guidance and advice have been absolutely essential to this project. I would also like to thank Kim Coates for her helpful feedback. She has made me much more aware of the clarity of my sentences than I ever thought possible.
    [Show full text]
  • The Tragedy of Hamlet
    THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf.
    [Show full text]
  • Die Premieren Von August Bis Februar*
    fotografiert von Ute Mahler und Werner Mahler Die Premieren von August bis Februar* 2014/15 * with English summaries Die Zeit There ist aus den is no Fugen Carolin Emcke und Thomas Ostermeier im Gespräch Wie lässt sich von Krieg und Gewalt erzählen? Gibt es dabei Grenzen des Verstehens? Ist es nicht nur möglich, sondern auch nötig, vom Leid anderer zu erzählen? Diesen Fragen geht Carolin Emcke in ihrem neuesten Buch »Weil es sagbar ist. Über Zeugenschaft und Gerechtigkeit« nach. Ihre Essays sind der Ausgangspunkt für ein Gespräch mit dem Künstlerischen Leiter der Schaubühne, Thomas need Ostermeier, über den Einbruch der Wirklichkeit in die Fiktion, blinde Flecken in Theater und Journa- lismus, tabuisierte gesellschaftliche Konflikte und die Möglichkeit, die Welt erzählend zu verändern. Carolin Emcke ist freie Publizistin und als Reporterin häufig in Krisengebieten unterwegs. Ihre jour- nalistische Arbeit wurde mit zahlreichen Preisen ausgezeichnet. Seit 2004 kuratiert und moderiert sie die monatliche Diskussionsreihe »Streitraum« an der Schaubühne. TO: Bei der Lektüre deines letzten Buches »Weil es am Ende des Stücks mit dem Gift umbringen, an dem bereits sagbar ist«, kamen mir drei Assoziationen in den Sinn. Die Hamlet und seine Mutter und alle anderen gestorben sind. Da erste war das Stück »Zerbombt«. Darin zeigt Sarah Kane eine sagt Hamlet voller Verzweiflung: Du darfst dich nicht umbringen. Paarbeziehung zwischen einem Journalisten und einer jungen Du musst doch meine Geschichte erzählen. Das ist gewisserma- Frau, die offenbar minderjährig ist, noch dazu etwas sprachbe- ßen die einzige Hoffnung, die hier bei Shakespeare bleibt. to be hindert, und von diesem Journalisten missbraucht wird. Damals Das Dritte, was mir einfiel, war »Die Perser« von Aischylos.
    [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]
  • Much Ado About Nothing – Beatrice – Act IV, Scene I
    Much Ado About Nothing – Beatrice – Act IV, Scene I BEATRICE Is he not approved in the height a villain, that hath slandered, scorned, dishonored my kinswoman? Oh, that I were a man! What, bear her in hand until they come to take hands and then, with public accusation, uncovered slander, unmitigated rancor—O God, that I were a man! I would eat his heart in the marketplace. Princes and counties! Surely, a princely testimony, a goodly count, Count Comfect, a sweet gallant, surely! Oh, that I were a man for his sake! Or that I had any friend would be a man for my sake! But manhood is melted into curtsies, valor into compliment, and men are only turned into tongue, and trim ones too. He is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving. Summer 2020 Hamlet, Prince of Denmark – Hamlet – Act III, Scene I HAMLET To be, or not to be? That is the question— Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And, by opposing, end them? To die, to sleep— No more—and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to—’tis a consummation Devoutly to be wished! To die, to sleep. To sleep, perchance to dream—ay, there’s the rub, For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause.
    [Show full text]
  • Doing Theatre: Theatre Pedagogy Through the Folktale
    80 Doing Theatre: Theatre Pedagogy through the Folktale Jean Small Professor Emerita, UWI Kingston, Jamaica [email protected] Abstract Theatre Pedagogy holds that cognition is body-based. Through performance the body’s unconscious procedural memory learns. This information learned through repeated interaction with the world is transmitted to the brain where it becomes conscious knowledge. Theatre Pedagogy in this case study is based on the implementation of a Caribbean cultural art form in performance, in order to teach Francophone language and literature at the postsecondary level in Jamaica. This paper describes the experience of “doing theatre” with seven university students to learn the French language and literature based on an adaptation of two of Birago Diop’s folktales. In the process of learning and performing the plays, the students also understood some of the West African cultural universals of life which cut across the lives of learners in their own and in foreign cultural contexts. Keywords: Birago Diop, heritage folktale, cognition, theatre performance, theatre pedagogy Context The Caribbean is an artificially created space peopled at the service of colonization and the plantation system. Jamaica, like the other islands in the Caribbean, has a population of which the largest percentage is of African ancestry, since their forefathers were brought as slaves mainly, from West Africa. The slaves carried with them through the Middle Passage, not only their physical selves, but their language and culture which have been passed on orally, from generation to generation, resulting in the development of an Afrocentric Caribbean culture that is unconsciously owned and practised by the general populace.
    [Show full text]
  • Tesori Di Svezia E Danimarca
    Capo Nord Alta ALF Lofoten ISLANDA Reykjavik KEF Tesori di Svezia 7 GIORNI / 6 NOTTI TOUR DI GRUPPO CON GUIDA e Danimarca DI LINGUA ITALIANA Un tour fiabescoFINLANDIA tra foreste, laghi e castelli Castello di Frederiksborg Nusnäs Falun Uppsala Karlstad Stoccolma ARN ESTONIA Göteborg SVEZIA DANIMARCA LETTONIA Copenaghen CPH Stoccolma Uppsala GIORNO 1 - ITALIA / STOCCOLMA e villaggi come Fjällbacka, con le sue pittoresche stradine. Arrivo a Stoccolma. Trasferimenti non inclusi, disponibili Il paesaggio è caratterizzato da un’atmosfera idilliaca, uno IN EVIDENZA su supplemento. Incontro con accompagnatore in hotel stile di vita tranquillo che segue l’antica tradizione svedese, Informiamo che per ragioni logistiche e tecniche, (disponibile entro le ore 21:00) Benvenuto a Stoccolma, dove le principali attivitá sono legate al mare (pesca di ara- l’itinerario puó subire delle variazioni nell’ordine la regina delle Capitali del Nord! In base al Vostro orario goste, conattaggio e kajak), Pranzo libero lungo il percorso. delle visite e potrebbe anche essere effettuato in senso inverso. Qualsiasi modifica apportata di arrivo, consigliamo una passeggiata per scoprire Dal villaggio di Lysekil ci imbarcheremo per una navigazio- da V.O.S non altererá in alcun modo la quantitá/ questa città dal fascino unico, ne di un´ora e mezza attraverso l’arcipelago per scoprire la qualitá dei servizi inclusi in programma. magnifica natura e le colonie di foche adagiate sulle rocce. Pernottamento presso Clarion Amaranten o similare INCLUSO NEL PREZZO Proseguimento verso Göteborg, una delle città portuali più importanti della Svezia. Consigliamo una passeggiata • Volo a/r Roma e/o Milano GIORNO 2 - STOCCOLMA / UPPSALA - FALUN • 6 pernottamenti con colazione negli Colazione in hotel.
    [Show full text]
  • Wahlen Beteiligten, Vorab Den Bügerinitia- Tigen Form Erholungsmöglichkei- Kategorie „Zugeständnisse“, Soll- Rie Die Qual Der Wahl Ein Bisschen Was Versteht Horst S
    Die Stadtteilzeitung Ihre Zeitung für Schöneberg - Friedenau - Steglitz Zeitung für bürgerschaftliches Engagement und Stadtteilkultur Ausgabe Nr. 85 - Oktober 2011 www.stadtteilzeitung.nbhs.de Liebe Leserinnen und Leser, L Schule im Kiez wenn Sie gedacht haben, mit Die Qual der Wahl der Ausübung Ihrer staatsbür- gerlichen Pflicht hätte sich die oder Lust auf Neues Sache erledigt - nun - so einfach ist das nicht. Nach der Wahl Das neue Schuljahr hat begonnen gibt es Gewinner und Verlierer; und sowohl die Erstklässler als richtig! Aber manchmal sind auch die Schüler, die auf eine wei- die Gewinner die Verlierer, be- terführende Schule gewechselt ziehungsweise umgekehrt. Neh- sind, haben ihren Platz gefunden. men wir unseren Bezirk Tem- pelhof-Schöneberg. Wie Sie den Nun ist bald der nächste Jahrgang an der Reihe und für die Eltern vorläufigen Ergebnissen, die stellt sich das Problem, eine geeig- wir für Sie auf Seite 2 für Schö- nete Schule zu finden. Und das neberg zusammengestellt ha- wird nach den vielen Schulrefor- ben, entnehmen können, hat bei men der letzten Jahre immer der Wahl zur BVV Tempelhof- schwieriger. Schöneberg die CDU die meis- Grundschule mit jahrgangsüber- ten Stimmen erhalten. Trotz- greifendem Unterricht, oder doch dem wird aller Voraussicht nach nicht, Integrationsschule oder die SPD den nächsten Bürger- jetzt schon spezielle Förderung meister, bzw. Bürgermeisterin von Interessen? Gymnasium oder stellen. Eine Zählgemeinschaft Schön übersichtlich Foto: Hartmut Becker Sekundarschule, zusammen mit mit den Grünen kann das er- den Freunden oder zukunftsorien- L möglichen. Und so könnte es Neues vom Gleisdreieck von Sigrid Wiegand tierte Schwerpunkte? Wo beste- auch anderen Bezirken ergehen. hen die besten Möglichkeiten, Das Szenario hat eine Gruppie- angenommen zu werden? Fast rung namens „Donnerstags- nichts ist mehr wie es war, wie wir kreis“ innerhalb der Landes-SPD Auf Betonpisten durch die Wiesen Eltern es kennen oder kannten.
    [Show full text]
  • Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
    DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters.
    [Show full text]
  • Werkschau Volker Schlöndorff 03.04
    WERKSCHAU VOLKER SCHLÖNDORFF 03.04. bis 30.06.2019 Caligari FilmBühne und Murnau-Filmtheater, Wiesbaden Kino des DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt DEUTSCHES FILMINSTITUT FILMMUSEUM CALIGARI FILMBÜHNE, WIESBADEN Fr 05.04. 19:00 Ein Abend für Volker Schlöndorff mit Gästen, anschließend: DER PLÖTZLICHE REICHTUM DER ARMEN LEUTE Seite VON KOMBACH BRD 1971, 91 Min., FSK: ab 12 05 Im Frühling dieses Jahres feiert einer der bedeu- Mi 17.04 20:00 DER JUNGE TÖRLESS BRD/F 1966, 87 Min., FSK: ab 18 06 tendsten deutschen Regisseure seinen 80. Geburts- Sa 27.04. 17:30 STROHFEUER BRD/F 1972, 98 Min., FSK: ab 16 09 tag: Volker Schlöndorff. In über 50 Jahren hat sich Sa 04.05. 17:30 DEUTSCHLAND IM HERBST der gebürtige Wiesbadener einen herausragenden BRD 1978, 119 Min., FSK: ab 12 10 Platz in der Geschichte des internationalen Films Mi 08.05. 20:00 DIE BLECHTROMMEL BRD/F 1979, 142 Min., FSK: ab 16 11 Mi 22.05. 17:30 EINE LIEBE VON SWANN BRD/F 1984, 111 Min., FSK: ab 16 12 erarbeitet. Als erster deutscher Regisseur über- Mo 27.05. 17:30 TOD EINES HANDLUNGSREISENDEN haupt erhielt er einen Oscar in der Kategorie USA/BRD 1985, 136 Min., FSK: ab 12 07 „Bester fremdsprachiger Film“. Di 28.05. 18:00 EIN AUFSTAND ALTER MÄNNER USA/GB/BRD 1987, 91 Minuten: FSK: ab 12 12 Wir freuen uns sehr, Ihnen in einer Werkschau Mo 03.06. 17:30 HOMO FABER D/F/GRC 1991, 117 Min., FSK: ab 12 13 einen umfassenden Blick auf Schlöndorffs viel- Mi 05.06.
    [Show full text]
  • Introduction: Shakespeare in Cross-Cultural Spaces
    Multicultural Shakespeare: Translation, Appropriation and Performance vol. 15 (30), 2016; DOI: 10.1515/mstap-2017-0001 Robert Sawyer and Varsha Panjwani Introduction: Shakespeare in Cross-Cultural Spaces The seeds for this volume were planted in the fertile soil of Guimarães, Portugal, during a colloquium organized by Francesca Rayner and the Centre for Humanistic Studies of the Universidade do Minho in October 2015, where scholars presented papers on the subject of “Shakespearean Collaborations.” Two themes emerged across many of the papers: the intercultural negotiation through Shakespeare and the consideration of spatial studies of Shakespeare. These ideas, germinated in Portugal, were then cross-pollinated with similar topics by other multinational Shakespearean scholars for this special issue on “Shakespeare in Cross-Cultural Spaces.” As we worked on this issue through 2016, the significance of discussing our first theme of cross-cultural relations became increasingly urgent. While, on the one hand, the world was marking the 400th anniversary of Shakespeare’s death, on the other hand, political and cultural borders were being re-imagined and re-made: the United Kingdom voted to exit from the European Union, the mass-migration of refugees from war-torn countries such as Iraq, Syria and Libya continued to increase, and the U.S. president, Donald Trump, threatened to build a wall across the Mexican border during his campaign. It seemed that the currents of Shakespeare studies and performance, which were celebrating diversity and interculturalism as witnessed by publications such as Shakespeare, Race and Performance: The Diverse Bard (2016) and productions such as Royal Shakespeare Company’s Hamlet with the Black actor, Paapa Essiedu, in the lead role (both reviewed in this issue), were moving in the opposite direction to these international events.
    [Show full text]