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Selected contributions to the Ninth World Shakespeare Congress,
which took place in July 2011 in Prague, represent the contemporary
state of Shakespeare studies in thirty-eight countries worldwide.
Apart from readings of Shakespeare's plays and poems, more than
forty chapters map Renaissance contexts of his art in politics,
theater, law, or material culture and discuss numerous cases of the
impact of his works in global culture from the Americas to the Far
East, including stage productions, book culture, translations, film
and television adaptations, festivals, and national heritage. The
last section of the book focuses on the afterlife of Shakespeare in
the work of the leading British dramatist Tom Stoppard. Published
by University of Delaware Press. Distributed worldwide by Rutgers
University Press.
The Experimental Plays of Harold Pinter offers a fresh approach to
the plays of Nobel Prize laureate Harold Pinter. He is highlighted
as an experimental playwright who attempted to free the theatre
from the legacy of realism, causality, and motivation. His plays
are read in relation to the avant-garde movements in the visual
arts and music that flourished in the twentieth century.
Scolnicov's new interdisciplinary perspective sets Pinter s
dramatic works against a background of the other arts and yields
new insights into the themes and structure of the plays,
underlining their evolving innovativeness. Such an approach has not
been attempted to date, and Pinter s plays are usually discussed in
the context of their contemporary drama and theatre. This shift of
interpretive focus requires a radical change in the acting
technique called for by Pinter s plays. The intermedial reading
offered in the book also carries wider implications for the
development of theatre studies. Twentieth-century dramatic
criticism has lagged behind art criticism and has not been quick
enough to develop adequate tools for the analysis of Pinter s
experiments with theatrical form. Scolnicov borrows from the ideas
of different contemporary art movements, such as hyperrealism,
surrealism, abstract expressionism, minimalism, conceptual art, and
abstract art to better understand his work. Pinter also adapted
techniques from music, film, and literature, constantly re-defining
the limits of dramatic art and theatre in his plays."
This is a volume of essays, which examines the relationship between
the play and its historical and cultural contexts. Transferring
plays from one period or one culture to another is so much more
than translating the words from one language into another. The
contributors vary their approaches to this problem from the
theoretical to the practical, from the literary to the theatrical,
with plays examined both historically and synchronically. The
articles interact with each other, presenting a diversity of views
of the central theme and establishing a dialogue between scholars
of different cultures. With play texts quoted in English, the range
of themes stretches from a Japanese interpretation of Chekhov to
Shakespeare in Nazi Germany, and Racine borrowing from Sophocles.
Most of the essays are based on papers presented at the Jerusalem
Theatre Conference in 1986. The book will be of interest to
students and scholars of the theatre and of literature and literary
theory as well as to theatregoers.
In this book Hanna Scolnicov examines the configuration of the
theatrical space as an icon of the problem of woman. Through her
historical and comparative study, Scolnicov reveals the changing
conventions of the theatrical space as faithful expressions of the
changing attitudes to woman and her sexuality. The theatrical space
has shifted accordingly from the front of the palace, to the
street, the piazza, and then, progressively, into the drawing-room,
the kitchen, the bedroom, narrowing down the scope and infringing
on the privacy of intimate relations. Some contemporary playwrights
have gone further, deconstructing the familiar naturalistic room to
form a non-mimetic interior. From this unusual vantage point,
Scolnicov looks at plays by a wide range of authors, including,
among others, Aeschylus, Aristophanes, Plautus, Shakespeare,
Jonson, Moliere, Ibsen, Chekhov and Pinter, relating them to
contemporary pictorial and architectural evidence. The book will be
of interest to scholars and students of theatre and theatre
history, comparative literature, and women's studies.
This is a volume of essays, which examines the relationship between
the play and its historical and cultural contexts. Transferring
plays from one period or one culture to another is so much more
than translating the words from one language into another. The
contributors vary their approaches to this problem from the
theoretical to the practical, from the literary to the theatrical,
with plays examined both historically and synchronically. The
articles interact with each other, presenting a diversity of views
of the central theme and establishing a dialogue between scholars
of different cultures. With play texts quoted in English, the range
of themes stretches from a Japanese interpretation of Chekhov to
Shakespeare in Nazi Germany, and Racine borrowing from Sophocles.
Most of the essays are based on papers presented at the Jerusalem
Theatre Conference in 1986. The book will be of interest to
students and scholars of the theatre and of literature and literary
theory as well as to theatregoers.
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