Browsing by Subject "Shakespeare"
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- PublicationOpen AccessContributing to peace in Northern Ireland: Terra Nova’s midsummer night’s dream(Spanish Association for Anglo-American Studies, 2024) García Periago, Rosa; Filología InglesaThis article examines the production of A Midsummer Night’s Dream put together by Terra Nova Productions in Belfast, Northern Ireland, in 2019. Terra Nova Productions (directed by Andrea Montgomery) is a professional theatre company known for its intercultural work, already seen in its first engagement with Shakespeare, The Belfast Tempest (2016). This challenging intercultural production of A Midsummer Night’s Dream was characterized by gender-switched characters, multi-racial casting, and the integration of amateur actors into a professional cast. Alongside these features, the production emphasized Northern Irish legacies. In response to Northern Ireland’s complex history, not least the so-called “Troubles,” peace was an underlying imperative in this Midsummer Night’s Dream, which was supported by the European Union’s PEACE Programme. This chapter aims to place emphasis on the importance of the socio-political context in this production at several levels, not just at the final outcome. The workshops and intercultural weekends organized for the amateur actors, the rehearsals with the professional cast, the performances themselves and the active engagement with the audience after the performances were all oriented to foster peace. The play becomes the perfect scenario to confront and challenge audiences and all the agents involved; A Midsummer Night’s Dream brings about a socio-political transformation, and, in the process, is itself transformed.
- PublicationRestrictedDissident feminism at the end of the Franco dictatorship. The new taming of the shrew (1975)(Bloomsbury (The Arden Shakespeare), 2021) Cerdá Martínez, Juan Francisco; Filología Inglesa; Facultad de Letras
- PublicationRestrictedEarly feminist shrews: gender truce in World War I and the interbellum(Editum, 2022) Cerdá Martínez, Juan Francisco; Filología Inglesa; Facultad de Letras
- PublicationOpen AccessFestival Shakespeare: celebrando las obras en la escena(2019-06-07) Guerrero Llorente, Isabel; Calvo López, Clara; Escuela Internacional de DoctoradoEsta tesis doctoral parte de la hipótesis de que el contexto de un festival de teatro tiene unos efectos determinados en la producción, recepción y representación de la puesta en escena de Shakespeare. Los objetivos fundamentales de esta investigación son: 1. establecer un marco teórico para definir qué es un festival de teatro; 2. determinar la relación entre Shakespeare y los festivales, trazando la evolución histórica de los festivales de Shakespeare; 3. examinar la presencia de Shakespeare en festivales de teatro de distinta naturaleza (oficiales/alternativos) en las ciudades de Edimburgo, Aviñón y Almagro. La metodología empleada combina la revisión bibliográfica de la historia de los festivales examinados, así como de diversos estudios referentes a la puesta en escena de la obra de Shakespeare, con el trabajo de archivo y la experiencia de la autora como espectadora. Esta tesis tiene un carácter interdisciplinar, generando un diálogo entre los estudios shakesperianos y los teatrales. La primera parte, “Conceptualising Theatre Festivals,” elabora un marco teórico con el propósito de comprender la naturaleza de los festivales de teatro. En la segunda parte, “Shakespeare Festivals,” se analiza el desarrollo histórico de los festivales de Shakespeare en países de habla inglesa. En cuanto al tercer bloque, “Festival Shakespeare,” define el término Festival Shakespeare en relación a las características principales de tres festivales oficiales: el EIF, el Festival de Aviñón y el Festival de Almagro. En último lugar, la parte cuatro, “Fringe Shakespeare,” centra su atención en los festivales alternativos, analizando las producciones de Shakespeare en el Fringe de Edimburgo, Aviñón Off y Almagro Off. Esta tesis demuestra que los festivales ejercen una influencia significativa en las producciones de Shakespeare presentadas en ellos, debido a las características particulares de este contexto. Además, los festivales han negociado de forma constante el significado de Shakespeare como autor. Prueba de ello es la evolución de Shakespeare en los mismos: los primeros festivales prescindían de la representación de las obras y clamaban por un Shakespeare nacional, mientras que festivales más recientes integran las obras como parte fundamental de las celebraciones y redefinen a Shakespeare como autor global. En aquellos festivales no dedicados en exclusiva a Shakespeare, las producciones han adquirido distintos significados dependiendo de las características del encuentro. Festival Shakespeare se define, así, como la serie de acontecimientos teatrales en los que se unen las producciones de Shakespeare y el contexto festival. En el EIF, Festival Shakespeare ha dado lugar a diferentes nociones de teatro global. En el Festival de Aviñón, la recepción de las producciones está influenciada por la temática de cada edición, la comparación con otras producciones o los recuerdos de los espectadores. En el Festival de Almagro, las producciones en el Corral de Comedias evocan significados del teatro de los siglos XVI y XVII, poniendo de relieve las similitudes entre los teatros españoles y los isabelinos. En los festivales alternativos, Festival Shakespeare se transforma en lo que denominamos Fringe Shakespeare, término que hace referencia a los acontecimientos teatrales que combinan la representación de Shakespeare y los festivales alternativos. En el Fringe de Edimburgo y en el Aviñón Off, las compañías emplean enfoques originales para asegurar su visibilidad dentro del programa. Paradójicamente, esto ha generado una serie de tendencias en la puesta en escena. En el Almagro Off, Fringe Shakespeare tiene lugar en un contexto específico: un concurso que busca estimular la representación de obras de los siglos XVI y XVII entre nuevos directores, por lo que el festival promueve la utilización de fórmulas escénicas innovadoras. Festival Shakespeare y Fringe Shakespeare son, por tanto, dos categorías productivas para analizar las producciones de Shakespeare en el contexto festival.
- PublicationRestrictedFissured legacies in Roysten Abel's In Othello(SAGE, 2023-03-20) García Periago, Rosa; Filología InglesaIn Othello (2003) offers both a critique and inadvertent affirmation of racial and colonial hierarchies and a reflection on the postcolonial nation. The film fosters Orientalist sensibilities via a fetishisation of ‘otherness’, in order to subvert it. It is a hybrid and ambivalent production in which the characters possess intersectional identities that are always multiple, in line with Hindu philosophy. This hybridity can also be observed in the mixture of traditions on which the film is based, and as such, it serves as a ‘rhizomatic interrelation’. The film shows how Shakespeare's play may provide a meditation on the Indian nation, where issue ssuch as transgressive romance, ostracisation, and gender roles remain unsettled.
- PublicationEmbargoEl Hamlet de Moratín (1798): El Neoclasicismo frente al mito. Sexo y género en la tragedia shakespeariana(Peter Lang, 2023-02) Marín Pérez, María José; Filología InglesaEn 1798, Leandro Fernández de Moratín, uno de los más reconocidos autores del neoclasicismo español, publica la traducción de Hamlet. Su versión marca un hito en la recepción de la obra de William Shakespeare en España, pues se trata de la primera vez que la tragedia se traduce directamente del texto original. A pesar de la fidelidad con que traduce Moratín, el español muestra una actitud casi alérgica hacia la obra del bardo inglés, pues le parece un todo extraordinario a la par que monstruoso. Moratín duda del estatus de Shakespeare, al que algunos consideran un dios del teatro, y se escandaliza al contemplar escenas donde, a su juicio, los personajes no se expresan con el debido decoro. El paratexto que acompaña a la obra misma incluye notas a la traducción donde el autor español se ceba en sus críticas a la manera en la que Shakespeare compone su obra. El reparo que muestra ante la obra se hace especialmente evidente en los pasajes con contenido sexual, que se estudian al detalle en este monográfico. El análisis cualitativo de éstos, centrado en examinar los mecanismos que el autor emplea para la traslación de las expresiones de contenido más procaz, se sustenta asimismo en estudios de corpus, que nos permiten profundizar en otras cuestiones tales como la visión que ambos autores aportan de los personajes masculinos y femeninos (tanto en la tragedia como en sus obras completas) o la evolución de términos con contenido sexual a lo largo de los siglos.
- PublicationOpen AccessInauguración Congreso Internacional sobre Shakespeare(2017-12-06) Urbina, LuisInauguración Congreso Internacional sobre Shakespeare. Facultad de Letras. Noviembre 2015
- PublicationOpen AccessLocalizing Romeo and Juliet: Ram-Leela, female agency, and indian politics(Oxford University Press, 2020-08-14) García Periago, Rosa; Filología InglesaThis essay explores Goliyon Ki Rasleela Ram-Leela (dir. Sanjay Leela Bhansali, 2013), a Bollywood adaptation of Romeo and Juliet, from a local/political and female-centred angle. Bhansali’s Romeo and Juliet localizes and provincializes Romeo and Juliet by situating it in Gujarat with recognizable traditional dance numbers, and considerably mythologizes the hypotext1 by the prioritization given to festivals and the parallels between the leading pair and well-known Hindu divinities. But, localization is not exempt from problems in this film, for dance and Hindu myths are both markers of tension in modern-day India. The constant ambiguities they bring up inevitably point to the non-isomorphic flows that characterize the nation-state. This tension also finds its niche in the depiction of women in the film. Bhansali’s adaptation equally shows women that are oppressed—the girl in the item number (musical number inserted in the film) and the widows (neither finding a Shakespearean counterpart)—women that are at one and the same time oppressed and resistant (Dhankor Baa/Lady Capulet and Leela/Juliet), and some women showing signs of female agency at the end of the adaptation. National tensions find their counterpart in tensions that inform Ram-Leela as an adaptation: this is a work that is both a Shakespearean adaptation and a Bollywood film, the two forms interacting with each other in a unique combination. Ram-Leela not only provides new understandings of Romeo and Juliet and, ultimately, Shakespeare, but also of the contingencies and complexities of modern-day India.
- PublicationOpen Access
- PublicationOpen AccessShakespeare and Mercy at the Vatican, 2016(Universidad de Murcia, Servicio de Publicaciones, 2020) Cerezo Moreno, MartaThis article explores a central chapter in the history of the Catholic reception of Shakespeare‟s work during the contemporary age: the Catholic readings in 2016 of Shakespeare‟s dramatic presentation of mercy in the context of the celebrations of the400thanniversary of Shakespeare‟s death and the Holy Year of Mercy. This study directs its focus first to Catholic public manifestations on mercy −such as printed volumes, articles and cycles of lectures− which incorporated Shakespeare‟s reflections on mercy within their religious debate. Second, it studies how the Globe to Globe Hamletperformance at the Holy See on 13 April 2016 triggered the interpretation within the Vatican context of Hamletas a play which, despite its focus on revenge and crime, opens up glimpses of mercy that allow a redefinition of justice
- PublicationRestrictedShakespeare and the european heritage. The legacy of Ángel-Luis Pujante(Editum, 2022) Pujante, Ángel-Luis; Gregor, Keith; Cerdá Martínez, Juan Francisco; Campillo Arnaiz, Laura; Calvo, Clara; Filología Inglesa; Facultad de Letras
- PublicationOpen AccessShakespeare en España(2017-11-28) Urbina, Luis; Facultades, Departamentos, Servicios y EscuelasLibro Editum: "Shakespeare en España". Bibliografia de Ángel Luis Pujante y Juan Francisco Cerdá Martínez, para entrevista Campus Digital. Campus Merced. Septiembre 2015
- PublicationRestrictedShakespearean performance in catalán: Adrià Gual and the emergence of the theatre director (1903–1940)(Taylor and Francis Group, Routledge , 2019-12-11) Cerdá Martínez, Juan Francisco; Filología Inglesa; Facultad de LetrasFrom 1898, the year of the foundation of the theatre company Intimate Theatre, to his work at the New Company of Catalan Theatre around the 1910s, to his last stagings as head of the Catalan School of Drama in the early 1930s, Adrià Gual is recognized as a pioneer of Spanish and Catalan theatre direction. In this period of over thirty years, Gual produced dozens of shows that ranged from the classical plays of Greek theatre to the latest texts from European, Spanish and Catalan playwrights. And among these, strategically translated into Catalan, a few of Shakespeare’s dramas helped Gual to develop his project to renovate the Barcelona stage and provide a theatrical model that would encourage the development of Catalan culture. This article analyses the way Gual’s Shakespearean productions were intimately connected at the local level with the educated Catalan elites and the establishment of their cultural identity while, connected to a larger continental perspective, Shakespeare’s plays functioned within Intimate Theatre, New Company of Catalan Theatre and the Catalan School of Drama as an instrument to renovate theatrical practice by resorting to the models provided by European stage directors.
PublicationOpen AccessEl teatro europeo moderno: Shakespeare y Molière(2012-02-06) Cifo González, Manuel; Didáctica de la Lengua y la LiteraturaEl artículo recoge un estudio de la situación del teatro europeo en Francia, Inglaterra y España, centrándonos en las figuras de Molière, Shakespeare y Lope de Vega, respectivamente.- PublicationOpen AccessTime’s up, Tarquin: the rape of Lucrece in the age of #Metoo(University of Porto Press, 2024) Cerdá Martínez, Juan Francisco; Filología Inglesa; Facultad de LetrasThe emergence of cultural materialism in the 1980s provoked a substantial reevaluation of Shakespeare’s work, as critics felt the ethical need to renegotiate the values and discourses of early modern culture as they circulated in late Western societies. Certain plays, such as The Taming of the Shrew, Titus Andronicus and Measure for Measure, have received especial scrutiny from the perspective of gender. Instead, inhabiting a rather peripheral space within the Shakespeare canon, his poetry has received little attention as much as its resonances are of similar relevance to the concerns of late gender debates. This chapter extends this presentist reevaluation of early modern literature by examining the poem The Rape of Lucrece in the light of current discussions of feminism and gender violence. Shakespeare’s treatment of rape – an otherwise central concern of early modern culture – and of Lucrece – a character that also fascinated Geoffrey Chaucer and John Gower amongst others – is here analysed in relation to (post)modern conceptions of feminine empowerment. Ultimately, the question is whether Lucrece’s bravery can be taken on by the brave new worlds, peoples, and women of the twentieth-first century. The Rape of Lucrece is currently not amongst Shakespeare’s most popular works.1 It can be argued that 1855 lines of iambic pentameter distributed among 265 septets of steady “rhyme royal” (ababbcc) is not the most fashionable format in the Netflix-obsessed late-modern cultural climate of 2019. But this wasn’t always the case. Together with numerous editions and praising references by fellow poets, in 1598 Gabriel Harvey annotated in the margin of his copy of Chaucer that “[t]he younger sort take much delight in Shakespeare’s Venus and Adonis, but his Lucrece and his tragedy of Hamlet Prince of Denmarke, have it in hem to Facing Europe in Crisis please the wiser sort” (apud Hehmeyer, 2013: 140). This illustrates the intellectual depth and popularity with which the poem was perceived at the time. A high regard which contrasts with the marginal position the poem holds nowadays within the Shakespeare canon. Even specifically, within the specialized circles of Shakespearean scholarship, the poem has not fared too well and, as Katharine Eisaman Maus has suggested, such limited attention can be at least partly attributed to how modern critics have “persistently object[ed] to its elaborate rhetoric” (Eisaman Maus, 1986: 66). This is, I believe, an accurate characterization of much of what has been written about the poem. A line of inquiry that is to a large extent exhausted or, at least, outdated since debates about the rhetorical quality of Shakespeare’s works have become rare in a research community that now tends not to evaluate, but to historicize Shakespeare’s writing. However, a different approach has kept the poem alive, that is (what I should broadly term) feminist criticism. It is not a surprise that feminism would have something to say about a poem that re-versifies the semi-historical, semimythical account of the rape of Lucrece, the virtuous, chaste and beautiful wife of the nobleman Collatine, at the hands of Tarquin, son of the last Roman king: a poem that provides an extensive and intensive representation of the psychological processes involved in a sexual assault; a poem that ends with Lucrece’s suicide, the banishment of Tarquin and the rest of the royal family, and the establishment of the Roman republic. Sustained attention to the motivations, processes and consequences of rape make the poem worth revisiting in 2019, a time in which sexual violence – from the Harvey Weinstein scandal to the Spanish “Wolfpack” / “La Manada”, just to name two high-profile cases – has taken up a specially relevant space within the preoccupations of late-modern feminism.