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The interaction of poetry and politics has shaped Joan into a
transnational myth dedicated to the most contradictory causes. No
other character has inspired a more impressive list of writers, but
no other myth possesses the malleability required to serve rival
camps. Whatever their distortions of fact for art's sake, these
famed authors deployed an extensive knowledge of known records. The
quality of the exchanges between the best creative and
philosophical minds of preceding centuries, their capacity for
reading, range of interests, literary judgment, critical
shrewdness, all offer priceless models of investigation for our
times. A close inquiry into the makings of the legendary heroine
brings to light various false impressions still endorsed today by a
number of noteworthy historians and literary critics. This
collection of essays, updated for the English language edition,
follows Joan of Arc in the Western consciousness, throughout the
chain of texts, fictions, comments, from the time of her launching
into celebrity by Jean Gerson and Christine de Pizan to the most
recent stage and film versions. D. Goy-Blanquet investigates the
exchanges between England, France and Germany, down to Joan's
nationalisation by Michelet. Francoise Michaud-Frejaville studies,
through little known seventeenth-century versions, a period of
decline in the heroine's popularity, with Jean Chapelain's much
decried Pucelle at its lowest ebb. Nadia Margolis picks up the
thread from Michelet to explore the background of frenzied
political quarrels, and personal self-identifications, for
possession of the nineteenth-century heroine, down to their
ultimate appropriation, that by the National Front. Jacques Darras
questions Peguy and the warmongers who used Joan as a firebrand
against pacifists like Jean Jaures, down to the singular fate of
Anouilh's L'Alouette, and beyond them the nationalistic strains
which continue to infect the French political scene. An essay
composed especially for this
Migrating Shakespeare offers the first study of the earliest waves
of Shakespeare’s migration into Europe. Charting the spread of
the reception and production of his plays across the continent, it
examines how Shakespeare contributed to national cultures and –
in some cases – nation building. The chapters explore the routes
and cultural networks through which Shakespeare entered European
consciousness, from first translations to stage adaptations and
critical response. The role of strolling players and actors,
translators and printers, poets and dramatists, is chronicled
alongside the larger political and cultural movements shaping
nations. Each individual case discloses the national, literary and
theatrical issues Shakespeare encountered, revealing not only how
cultures have accommodated and adapted Shakespeare on their own
terms but their interpretative contribution to the texts. Taken
collectively the volume addresses key questions about
Shakespeare’s naturalization or reluctant accommodation within
other cultures, inaugurating his present global reach.
Patrice Chereau (1944 - 2013) was one of France's leading directors
in the theatre and on film and a major influence on Shakespearean
performance. He is internationally known for memorable productions
of both drama and opera. His life-long companionship with
Shakespeare began in 1970 when his innovative Richard II made the
young director famous overnight and caused his translator to
denounce him publicly as an iconoclast, for a production mixing
"music-hall, circus, and pankration". After this break, Chereau
read Shakespeare's texts assiduously, "line by line and word by
word", with another renowned poet, Yves Bonnefoy. Drawing on new
interviews with many of Chereau's collaborators, this study
explores a unique theatre maker's interpretations of Shakespeare in
relation to the European tradition and to his wider body of work on
stage and film, to establish his profound influence on other
producers of Shakespeare.
Patrice Chereau (1944 - 2013) was one of France's leading directors
in the theatre and on film and a major influence on Shakespearean
performance. He is internationally known for memorable productions
of both drama and opera. His life-long companionship with
Shakespeare began in 1970 when his innovative Richard II made the
young director famous overnight and caused his translator to
denounce him publicly as an iconoclast, for a production mixing
"music-hall, circus, and pankration". After this break, Chereau
read Shakespeare's texts assiduously, "line by line and word by
word", with another renowned poet, Yves Bonnefoy. Drawing on new
interviews with many of Chereau's collaborators, this study
explores a unique theatre maker's interpretations of Shakespeare in
relation to the European tradition and to his wider body of work on
stage and film, to establish his profound influence on other
producers of Shakespeare.
Migrating Shakespeare offers the first study of the earliest waves
of Shakespeare’s migration into Europe. Charting the spread of
the reception and production of his plays across the continent, it
examines how Shakespeare contributed to national cultures and –
in some cases – nation building. The chapters explore the routes
and cultural networks through which Shakespeare entered European
consciousness, from first translations to stage adaptations and
critical response. The role of strolling players and actors,
translators and printers, poets and dramatists, is chronicled
alongside the larger political and cultural movements shaping
nations. Each individual case discloses the national, literary and
theatrical issues Shakespeare encountered, revealing not only how
cultures have accommodated and adapted Shakespeare on their own
terms but their interpretative contribution to the texts. Taken
collectively the volume addresses key questions about
Shakespeare’s naturalization or reluctant accommodation within
other cultures, inaugurating his present global reach.
Like many of his fellow playwrights, Shakespeare turned to national history for inspiration. In this study, Dominique Goy-Blanquet provides a close comparison of the Henry VI plays and Richard III with their sources, demonstrating how Shakespeare was able to meet not only the ideological but also the technical problems of turning history into drama, how by cutting, carving, shaping, and casting his unwieldy material into performable plays, he matured into the most influential dramatist and historian of his time.
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