Shakespeare's Characters Transposed: Iconography, Adaptations, Cultural Exchanges and Staging. International Symposium Trento 12-14 November 2019 (original) (raw)
Related papers
International Symposium Programme Trento November 12-14 2019, 2019
The symposium will investigate the iconographical and literary re-elaborations of Shakespearean characters, focusing on the exchanges between different contexts and cultures. From the 18th to the 20 th century, Shakespeare's characters underwent substantial transformations, reflecting the different aesthetic, ethical and social sensitivities of different historical periods, as well cross-fertilization with other cultural European traditions. The alteration of Shakespearean characters and their actions stands in a relationship of mutual influence with visual transpositions, and sometimes ends up modifying the perception of the original text. Papers will focus on prose and musical theatre, fine arts and literary adaptations/re-writings, with particular attention to the transpositions from one artistic medium to another.
An Examination of Shakespeare and Adaptations of his Works Throughout Time
There can be little point in denying that William Shakespeare is among the most influential authors in literary history. For centuries, his works have been a staple of any literary education, and have spawned countless adaptations and imitations from his craft, both popular and otherwise. The popularity of The Bard's works has also created an enormous amount of scholarly discussion that ranges in subjects from the overarching themes within the plays to the significance of lines spoken by the characters, and these discussions have overflowed into the realm of Shakespeare adaptations. Through careful and thorough research, I have compiled criticism of what I believe to be the most influential and important adaptations of Shakespeare's plays throughout history based on the scholarly discussion surrounding them. From original productions of Shakespeare to film and graphic novel adaptations, this collection will attempt to discover the inner complexities of adapting Shakespeare, as well as what merits they might hold through an examination of the scholarly discussion surrounding these pieces.
Shakespeare’s Plays and Modern Adaptations
Studies in Literature and Language, 2010
The main purpose of this essay is to examine the obstacles that modern adaptors encounter when filming Shakespeare's plays, particularly Macbeth and Antony and Cleopatra. This essay argues that in trying to overcome the problems of the text, the language, poetry and stage convention, filmmakers have developed certain techniques in order to enable the screen serve Shakespeare's dramatic structure, his characterisation and his poetry.
The Cambridge Companion to Shakespeare on …, 2002
An essay on the pictorial aesthetics of 19th-century productions of Shakespeare, 'The Cambridge Companion to Shakespeare on Stage', eds. Stanley Wells and Sarah Stanton.
Reenacting Shakespeare in the Shakespeare aftermath: The intermedial turn and turn to embodiment
Shakespeare, 2020
Reproducing Shakespeare Reproducing Shakespeare marks the turn in adaptation studies toward recontextualization, reformatting, and media convergence. It builds on two decades of growing interest in the "afterlife" of Shakespeare, showcasing some of the best new work of this kind currently being produced. The series addresses the repurposing of Shakespeare in different technical, cultural, and performance formats, emphasizing the uses and effects of Shakespearean texts in both national and global networks of reference and communication. Studies in this series pursue a deeper understanding of how and why cultures recycle their classic works, and of the media involved in negotiating these transactions.
Shakespeare on Screen: A Second Update (2002-16)
The ESSE Messenger, 2016
The present article seeks to provide a comprehensive annotated guide to the publications related to the field of Shakespeare on Screen for the period 2002-16. Conceived as an update to two articles previously published in The European English Messenger, its entries have been classified and annotated in four categories: the first section includes a list of bibliographies, filmographies and databases; the second features monographs and collections of essays focusing exclusively or substantially on the subject whereas the third deals with representative journals and specific journal issues. Published screenplays and other works on the making of the films are listed in the fourth section. A thoroughly revised, expanded and updated versión was published in the French journal Cahiers Élisabéthains in a special issue on Shakespeare on screen in the digital era (2021).
REPRESENTING AMBIGUITY: LIMINALITY AND TRANSFORMATION IN SHAKESPEAREAN THEATRE
Although there has been extensive research into Shakespearean text and performance, visual responses (other than film) have received limited attention, and few fine artists have made a sustained engagement with Shakespeare. This series of paintings and accompanying commentary offer a lateral, imaginative response to the plays and their historical and contemporary contexts. My research is a visual exploration of ambiguity, liminality and transformation, investigated concurrently in terms of text, performance and painting. My primary context is Shakespeare’s Globe Theatre, which has provided a crucial contextual and conceptual focus. During a period as Artist in Residence at Shakespeare’s Globe Theatre in London, I observed rehearsals and performances, and undertook research in the costume and prop stores, library and archives. My study has been much informed and stimulated by literary and historical research, and a significant aspect of the project has been to create an interdisciplinary dialogue, examining how theory and practice, the textual and the visual, inform each other. Various strands of research have emerged through practical and theoretical investigation: ideas of past and present; magic, supernatural and the uncanny; ambiguity of identity; costume and disguise. My examination of liminal states, boundaries and thresholds has enabled me to reflect on, and develop, many of the preoccupations and problems that lie behind my practice: the nature of silence, the translation of movement, the power of stillness and empty space, the nuances of meaning and perception inherent in the androgynous figure, and, as an overarching theme, liminality of both the theatrical and pictorial space. Shakespeare, Globe Theatre, painting, ambiguity, liminality, interdisciplinary.
Re-Reading, Re-Writing, Re-Contextualising Shakespeare
Linguaculture, 2017
All in all, the scholars whose papers are included in this issue of LINGUACULTURE come from different cultures and countries, share a common love for and interest in Shakespeare‘s work, from which they select highly different texts and resort to highly different methods of investigation. Although inevitably limited in number, these studies take us a long way from the ‗originals‘ in their home culture, to mid-twentieth century Romania, to Orson Welles in the 1950‘s or the 2016 American elections, to Japanese contemporary manga or…to the opera, at different times in history, once again testifying to the amazing plurality of response Shakespeare‘s works have received. In addition, as is well known, these studies are all tiny fragments of the same gigantic puzzle that is called Shakespearian scholarship. The editors of this issue hope that the readers will find here new stimulating pieces of information in a field that will never cease to fascinate us.