As You Like It. The Merchant of Venice. Saiba Tiffany Pundit. Why is Shakespeare so important to the English language? Shakespeare is important because he has made a significant contribution to the English literature through his work on Drama or Plays. Reading and analyzing his work also provide insight into the culture and society around those times.
Islam Kilford Pundit. Did Shakespeare know French? It had entered English some two centuries before him, so far as the documents show, or in the 14th century.
Nahiara Graha Pundit. Is Romeo and Juliet a true story? Shakespeare's Romeo and Juliet is not based on a real story , but it is not original to Shakespeare either. An important source is the Roman writer Ovid's Metamorphosis. One of the stories in Ovid's work is Pyramus and Thisbe, about two Babylonian lovers. Nauman Elmenthaler Pundit. What is the greatest Shakespeare play? Hamlet , the play voted Shakespeare's greatest in our survey of more than actors, writers, directors and producers, is thought to have been written between and , and the four-and-a-half hour epic beat King Lear and the lighter offering of A Midsummer's Night's Dream to the top spot.
Khadouja Lindenkreuz Pundit. How much is Shakespeare worth today? Edel Intxaustegui Teacher. How did Shakespeare get involved in Theatre?
The Theatre was among the first playhouses in England since Roman times. The Globe, which opened in , became the playhouse where audiences first saw some of Shakespeare's best-known plays. See Nouri Supporter. What is Shakespeare's idea of love? Love is a universal human theme, complex and packed with emotion, that appears in many different forms in Shakespeare's plays. In Romeo and Juliet, being forbidden to love each other only makes the young couple more determined. In Macbeth, ambitious love ultimately destroys the central characters.
Global Shakespeare is Shakespeare in performance wherever he is staged, whether in Calcutta or Tirana or Santa Barbara. In other words, Global Shakespeare highlights theatre practices idiosyncratic to the cultures in which his plays are staged, highlighting those practices or otherwise making them apparent in the production. In this way, Shakespeare becomes significantly local.
His plays present and celebrate cultural specificity and national identity, promoting, representing or creating meanings significant to the culture of the artists playing him. Much of this might be unintelligible to the accidental or otherwise uninformed theatre-goer.
I took that to mean—as did many other directors—cultural and artistic practices local to the communities developing the productions. Last year, the Globe published a wonderful artifact of that festival that includes reviews of every show presented at the festival. Three examples highlight the principles of Global Shakespeare. The compelling story of desire, power, attempted seduction and loss unfolds through a seamless medley of song, dance and music, drawing on elements from Western operatic traditions, South African acapella and contemporary pop music.
An all-black cast on the Globe stage in a multilingual production incorporating six of the nine major South African languages… this was Shakespeare like never before. The front of the stage was set with vividly painted boxes arranged in a multilevel circle, their fonts decorated with images ranging from ships to horses to a dinosaur and their sides with floral patterns; a helpful member of t he audience told me t hey resembled the folk art paintings seen on rickshaws, particularly in Dhaka.
Imaginative and highly symbolic use of music and dance with live drumming… was particularly effective. For example, a dance using sticks represented one of the numerous battle scenes. Productions become global when they travel, move throughout the world, become part of a global marketplace, and serve as cultural capital, as currency that validates identity on t he world stage.
Shakespeare is not singular but plural. He is a they: Shakespeares, not Shakespeare. The Globe later produced its own production of the Henry VI trilogy in Here, on the Globe Stage, Macedonia was not only part of the world, but it was also part of Europe despite contemporary European politics and economic realities that have kept Macedonia out of the European Union. Hybrids that fuse cultures, methods and approaches, Global Shakespeare productions refashion the plays and create new meanings.
For example, when I work in the Balkans, I bring an Anglo-inspired approach to text and acting. I encourage the actors to speak, to think, to discover what is said in the moment of speaking, and to ride the waves of language and thought. This deviates from the dominant Balkan method of playing, which is slower, more reflective. The actors use many pauses and think in order to speak. Despite the interest in Shakespeare during the eighteenth century, later also promoted by the German Romantics, it was only from the nineteenth century onwards, with the combination of gifted actors such as Tommaso Salvini, Ernesto Rossi and Adelaide Ristori, and translators such as Giulio Carcano and Carlo Rusconi, that a translation and retranslation project of all Shakespearean plays began in Italy.
Among the gifted translators, Giulio Carcano in particular holds an important position, with his Teatro Scelto di Shakespeare , a project of verse translations of selected plays. Another practice was to perform foreign works in translation to a foreign audience: these two practices often overlapped. They then tour Europe and beyond, performing in their native tongue, often with a foreign cast, as it is the case with Italian performers bringing Italian language Shakespearean plays to Europe and North America.
Made up of individual volumes, this edition mostly employed the prose translations by prolific Shakespearean translator Carlo Rusconi. The plays are accompanied by beautiful black and white engravings, with some full-page illustrations possibly by different artists.
It also contributes to the tradition of contextualising drama as a literary genre, targeted to the individual reader rather than produced as scripts for actors, ultimately for the immediate reception of a theatre audience. Manuela Perteghella is Associate Lecturer in Translation at the Open University, and a writer, curator and creative producer.
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