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The Merchant of Venice
Boika Sokolova, Kirilka Stavreva
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R2,435
Discovery Miles 24 350
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Ships in 9 - 15 working days
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Boika Sokolova and Kirilka Stavreva’s second edition of the stage
history of The Merchant of Venice interweaves into the chronology
of James Bulman’s first edition richly contextualised chapters on
Max Reinhardt, Peter Zadek, and the first production of the play in
Mandatory Palestine, directed by Leopold Jessner. While the focus
of the book is on post-1990s productions across Europe and the USA,
and on film, the Segue provides a broad survey of the
interpretative shifts in the play’s performance from the 1930s to
the second decade of the twenty-first century. Individual chapters
explore productions by Peter Zadek, Trevor Nunn, Robert Sturua,
Edward Hall, Rupert Goold, Daniel Sullivan, and Karin Coonrod. An
extensive film section including silent film offers close analysis
of Don Selwyn’s Te Tangata Whai Rawa o Weniti and Michael
Radford’s adaptation. Accessible and engaging, the book will
interest students, academics, and general readers. -- .
The Merchant of Venice and Othello are the two Shakespeare plays
which serve as touchstones for contemporary understandings and
responses to notions of 'the stranger' and 'the other'. This
groundbreaking collection explores the dissemination of the two
plays through Europe in the first two decades of the 21st-century,
tracing how productions and interpretations have reflected the
changing conditions and attitudes locally and nationally. Packed
with case studies of productions of each play in different
countries, the volume opens vistas on the continent's turbulent
history marked by the instability of allegiances and boundaries,
and shifting senses of identity in a context of war, decolonization
and migration. Chapters examine productions in Bulgaria, Hungary,
Poland, Romania, Serbia, Italy, France, Portugal and Germany to
shed light on wide-scale European developments for the first time
in English. In a final section, performance insights are offered by
interviews with three directors: Karin Coonrod on directing The
Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on
his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud
Churin, whose Othello toured France in 2019. In drawing attention
to the ways in which historical circumstances and collective memory
shape and refashion performance, Shakespeare's Others in
21st-century European Performance offers a rich review of European
theatrical engagements with Otherness in the productions of these
two plays.
The Merchant of Venice and Othello are the two Shakespeare plays
which serve as touchstones for contemporary understandings and
responses to notions of 'the stranger' and 'the other'. This
groundbreaking collection explores the dissemination of the two
plays through Europe in the first two decades of the 21st-century,
tracing how productions and interpretations have reflected the
changing conditions and attitudes locally and nationally. Packed
with case studies of productions of each play in different
countries, the volume opens vistas on the continent's turbulent
history marked by the instability of allegiances and boundaries,
and shifting senses of identity in a context of war, decolonization
and migration. Chapters examine productions in Bulgaria, Hungary,
Poland, Romania, Serbia, Italy, France, Portugal and Germany to
shed light on wide-scale European developments for the first time
in English. In a final section, performance insights are offered by
interviews with three directors: Karin Coonrod on directing The
Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on
his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud
Churin, whose Othello toured France in 2019. In drawing attention
to the ways in which historical circumstances and collective memory
shape and refashion performance, Shakespeare's Others in
21st-century European Performance offers a rich review of European
theatrical engagements with Otherness in the productions of these
two plays.
Shakespeare is the national poet of many nations besides his own,
though a peculiarly subversive one in both east and west. This
volume contains a score of essays by scholars from Britain,
Bulgaria, Croatia, Germany, Poland, Romania, Spain, Ukraine and the
USA, written to show how the momentous changes of 1989 were
mirrored in the way Shakespeare has been interpreted and produced.
The collection offers a valuable record of what Shakespeare has
meant in the modern world and some pointers to what he may mean in
the future.
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