WILLIAM SHAKESPARE EN AVIÑÓN. ANÁLISIS DE SU RECEPCIÓN EN EL CONTEXTO DE UN FESTIVAL DE TEATRO

Este artículo analiza la representación de las obras de William Shakespeare en el Festival de Aviñón a través del análisis de los espectáculos y su recepción por parte del público y de la crítica con el objetivo de examinar cómo el contexto del festival da lugar a un tipo de recepción con características propias. Partimos de la idea de que la recepción del público en un festival de teatro es eminentemente distinta a la que tiene lugar en otros acontecimientos teatrales debido a las características particulares de este contexto. Para ello, exploramos tres aspectos fundamentales: la selección de montajes, la activación de la memoria del festival y la influencia del festival en los montajes que produce y coproduce. Abstract: This article explores Shakespeare in performance at the Avignon Festival through theatre reviews and performance analysis in order to examine how festival contexts give rise to distinct types of audience reception. It takes as its starting point that audience reception at the festival context varies significantly from that in other theatrical events. The article interrogates three main aspects about the Avignon Festival (the influence of the curation of the festival, the activation of festival memories and the influence of the festival on commissioned productions) using semiotics to conceptualize the festival.

Online Literature Circles in Learning Hamlet among Pre-service Teachers

Literature instruction may serve multiple functions. This case study aimed at investigating the perceptions on the use of online literature circles among 62 first year Teaching English as a Second Language pre-service teachers in a literature course at Universiti Teknologi Malaysia. The participants were assigned to read and participate in online literature circles about the play Hamlet by William Shakespeare. Based on cooperative learning, the participants rotated in playing the roles of the Discussion Director, Device Detective, Imaginative Illustrator, Creative Connector, and Passage Picker in each group. Data from a survey were analyzed in descriptive statistics, while data from the role sheets based on the five roles and the online video of 3 literature circle discussions were analyzed thematically. The findings are significant for teacher training institutions and in-service teachers. This study was able to show that online literature circles were perceived as interesting, engaging, challenging, and fun. The participants engaged in different learning processes involving cognitive, affective, and language skills. Though this study identified some challenges, online literature circles have many benefits and are recommended for literature instruction for pre-service teacher training.

Coelho Neto Canibal: Pseudônimos shakespearianos e literatura licenciosa no Brasil (1890-1940) / Coelho Neto Cannibal: Shakespearean pseudonyms and licentious literature in Brazil (1890-1940)

Resumo: Este trabalho estuda a trajetória do pseudônimo shakespeariano Caliban, adotado pelo escritor Henrique Coelho Neto (1864-1934), em 1890, para veicular literatura licenciosa nos impressos. Acompanhamos o pseudônimo desde sua estreia até sua última aparição no mundo editorial na década de 1940. Para levar a cabo a tarefa, consultamos os livros publicados por Caliban e investigamos sua atuação na imprensa periódica por meio da consulta online dos jornais na Hemeroteca Digital Brasileira. Caliban foi um autor de sucesso e parte desse reconhecimento vinha da origem erudita de seu nome. O filtro shakespeariano era crucial para a aceitação dessa literatura nos circuitos letrados, mas muitos a consideravam como mera pornografia. A literatura de Caliban revela um Coelho Neto moderno, contestador e inovador que foi esquecido pela tradição crítica.Palavras-chave: Coelho Neto; William Shakespeare; Caliban; literatura licenciosa.Abstract: This work studies the trajectory of the Shakespearean pseudonym “Caliban”, adopted by writer Henrique Coelho Neto (1864-1934) in the 1890s to convey licentious literature in print. We follow the pseudonym from its debut until its last appearance in the publishing world in the 1940s. To carry out the task, we consulted the books published by Caliban and investigated his performance in the periodic press through online consultation of newspapers in the Hemeroteca Digital Brasileira. Caliban was a successful author and part of that recognition came from the erudite origin of his name. The Shakespearean filter was crucial for the acceptance of this literature in literary circuits, but many considered it as mere pornography. Caliban’s literature reveals a modern, challenging and innovative Coelho Neto who has been overlooked by critical tradition.Keywords: Coelho Neto; William Shakespeare; Caliban; licentious literature.

“To Act or Not to Act”: Arendt, Hegel, and Shakespeare on Action

The contribution links three unusually connected suspects in order to tackle the question of human action, which is eminently at stake not only in the realms of politics and in the field of history, but also in philosophy, and, as a peculiar link between the two, theatre, namely: Hannah Arendt (Human Condition), G.W.F. Hegel (Phenomenology of Spirit), and William Shakespeare (Hamlet). And In order to connect all three authors and their respective fields of philosophy, politics, and theatre as regards the particular issue of action, the starting point will be the figure of Achilles as portrayed in Homer’s Iliad.

Panorámica de las traducciones de los Sonetos de Shakespeare al español

Este trabajo ofrece una recopilación de traducciones al español de los Sonetos de William Shakespeare publicadas entre 1877, fecha en que apareció la primera traducción de la obra, y 2019. Pese a que la obra original, publicada en 1609, no gozó de gran fama en sus inicios (Blakmore Evans, 2006: 2), a partir de principios del siglo XIX, los Sonetos fueron una fuente de especulación sobre asuntos biográficos (Burrow, 2002: 2), lo que pudo desembocar en un mayor impacto de la obra en los últimos siglos, no sólo en el ámbito anglosajón, sino también en el hispanohablante, como lo demuestra este trabajo. En él se indican, además de los traductores de esta obra al español y las fechas y países de publicación, algunas características relevantes de cada una de las traducciones, como la forma empleada para traducir los sonetos, la presencia de prólogos y otros paratextos o el carácter bilingüe/monolingüe de las ediciones.

Possíveis apropriações azevedianas de Hamlet: ser ou não ser

No Brasil do século XIX, William Shakespeare foi recebido e aceito com apreço pelos leitores, críticos, teatrólogos e escritores que, por sua vez, apropriaram-se de passagens inesquecíveis, citando-as em suas produções. Esta pesquisa se vincula à literatura comparada e almeja mostrar um panorama das citações a Hamlet que se observam na obra de Álvares de Azevedo (1831 - 1852), poeta da segunda geração romântica brasileira, a fim de relacioná-las aos temas abordados pelo jovem escritor, descobrindo o porquê e para quê foram mencionadas em seus textos. Ademais, abordam-se estudiosos que notaram a presença do gênio inglês no poeta romântico, tais como Gomes (1961), Prado (1996), Assis (2000), Cândido (2000), Monteiro (2000), Romero (2000), Stegagno-Picchio (2000) e Amaral (2006). A partir de uma análise qualitativa, vários textos foram analisados, buscando similitudes e contrastes entre os autores, verificando como ocorreu a assimilação azevediana. Dessa forma, apresentam-se as menções mais explícitas como as citações diretas de versos, indiretas de cenas e personagens.

Playing Upon Biographical Myths: William Shakespeare and Lesia Ukrainka as Characters in Contemporary Drama

The article sets out to explore two plays by contemporary playwrights, one American (Don Nigro, Loves Labours Wonne), the other Ukrainian (Neda Nezhdana, And Still I will Betray You), focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional (imaginative) biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches (Paul Franssen, Ton Hoenselaars, Ira Nadel, Aleid Fokkema, Michael MacKeon, Ina Shabert and others), the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss how they operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fi ction is defi nitively tipped in favor of the latter. By centering their (quasi) biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult fi gures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality.

Contemporary Adaptations of King Lear: Power and Dramatic Space in William Shakespeare, Edward Bond and Elaine Feinstein

In his tragedy King Lear (1605) William Shakespeare explores the human psyche through a story of an old king who gives up his land to his two eldest daughters and finds himself forced to wander in the space of the outcasts. In his modern version of this play entitled: Lear, Edward Bond resumes Shakespeare’s analysis of space and power in the figure of a monomaniac father who raises a wall against his enemies. The division of inner-outer spaces present in Bond is further explored in Elaine Feinstein’s and the Women Theatre Group’s work: Lear’s Daughters, which immerses the audience into the early years of Goneril, Regan and Cordelia. In this contemporary prequel to Shakespeare’s play the three princesses discover the world and the space they occupy in it from their seclusion in the castle.

The last corrections in the translation of the comedy “The Taming of the Shrew” by William Shakespeare

An attempt to answer the question if Aleksey Damich, who had undertaken the 4th edition of W. Shakespeare's works in Russian translations in 1887–1888, took into account the corrections in the translation of “The Taming of the Shrew”, which Alexander Ostrovsky had made shortly before death, is made in this article. In answering this question positively, the author of the article substantiates her conclusion with an analysis of the discrepancies in 6 different editions of Alexander Ostrovsky's translation of this play. Comparison of Aleksey Damich’s edition with one by Nikolay Martynov also allowed addressing the question of the nature of the last changes in the comedy translation text that Alexander Ostrovsky made.

Trails of Cultural Memory: Rediscovering Shylock as a Father Figure in the 21st Century

Given that in the last few decades theories of adaptation have advanced enormously, with such names as Linda Hutcheon setting the theoretical premise of these ideas, it is essential to see how certain aspects present in canonical texts have been translated into present-day literature. In this paper, I discuss how the father-daughter relationship in The Merchant of Venice by William Shakespeare, has been (re)interpreted through the carrying of similar characters and situations in the novel Shylock Is My Name by Howard Jacobson. The novel does not only serve as a means of projecting old ideas as new, but it also provides the stage of resolution for such prominent characters as Shylock. In order to have a broader understanding of the (re)interpreted father-daughter relationship, this chapter will take into account the sociological symbolism of the contemporary text, with Erik Erikson’s descriptions of adolescence in the foreground.