Shakespeare and Conflict: A European Perspective

290 Pages·2013·2.29 MB·English

by  Carla Dente, Sara Soncini (eds.)

Shakespeare and Conflict
Palgrave Shakespeare Studies
General Editors: Michael Dobson and Dympna Callaghan
Co- founding Editor: Gail Kern Paster
Editorial Advisory Board: Michael Neill, University of Auckland; David Schalkwyk, Folger
Shakespeare Library; Lois D. Potter, University of Delaware; Margreta de Grazia, University of
Pennsylvania; Peter Holland, University of Notre Dame
Palgrave Shakespeare Studies takes Shakespeare as its focus but strives to understand the significance
of his oeuvre in relation to his contemporaries, subsequent writers and historical and political con-
texts. By extending the scope of Shakespeare and English Renaissance Studies the series will open up
the field to examinations of previously neglected aspects or sources in the period’s art and thought.
Titles in the Palgrave Shakespeare Studies series seek to understand anew both where the literary
achievements of the English Renaissance came from and where they have brought us.
Titles include:
Pascale Aebischer, Edward J. Esche and Nigel Wheale (editors)
REMAKING SHAKESPEARE
Performance across Media, Genres and Cultures
James P. Bednarz
SHAKESPEARE AND THE TRUTH OF LOVE
The Mystery of ‘The Phoenix and Turtle’
Mark Thornton Burnett
FILMING SHAKESPEARE IN THE GLOBAL MARKETPLACE
Carla Dente and Sara Soncini (editors)
SHAKESPEARE AND CONFLICT
A European Perspective
Lowell Gallagher and Shankar Raman (editors)
KNOWING SHAKESPEARE
Senses, Embodiment and Cognition
Stefan Herbrechter and Ivan Callus (editors)
POSTHUMANIST SHAKESPEARES
David Hillman
SHAKESPEARE’S ENTRAILS
Belief, Scepticism and the Interior of the Body
Anna Kamaralli
SHAKESPEARE AND THE SHREW
Performing the Defiant Female Voice
Jane Kingsley-Smith
SHAKESPEARE’S DRAMA OF EXILE
Stephen Purcell
POPULAR SHAKESPEARE
Simulation and Subversion on the Modern Stage
Erica Sheen
SHAKESPEARE AND THE INSTITUTION OF THEATRE
Paul Yachnin and Jessica Slights
SHAKESPEARE AND CHARACTER
Theory, History, Performance, and Theatrical Persons
Palgrave Shakespeare Studies
Series Standing Order ISBN 978–1–403–91164–3 (hardback) 978–1–403–91165–0 (paperback)
(outside North America only)
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Shakespeare and Conflict
A European Perspective
Edited by
Carla Dente and Sara Soncini
Introduction, selection and editorial matter © Carla Dente and Sara Soncini
2013 Individual chapters © contributors 2013
Foreword ©Ton Hoenselaars 2013
Softcover reprint of the hardcover 1st edition 2013 978-0-230-34327-6
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First published 2013 by
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ISBN 978-1-349-34463-5 ISBN 978-1-137-31134 (eBook)
DOI 10.1057/9781137311344
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10 9 8 7 6 5 4 3 2 1
22 21 20 19 18 17 16 15 14 13
Contents
List of Illustrations vii
Notes on Contributors viii
Foreword by Ton Hoenselaars xiii
Acknowledgements xvii
List of Abbreviations xix
General Introduction 1
Carla Dente and Sara Soncini
Part I Conflict in Shakespeare
1 Introduction 17
Paola Pugliatti
2 ‘What country, friends, is this?’ The Performance of
Conflict in Shakespeare’s Drama of Migration 24
Sabine Schülting
3 Killing by the Book: Scenes from the Duel Ritual 40
Paola Pugliatti
4 The War of ‘Nothings’ in The Tragedy of King Lear 55
Małgorzata Grzegorzewska
5 Conflict and Convergence in Shakespeare’s Wordplay 68
Georgi Niagolov
6 Stage and Conflict in ‘The Phoenix and the Turtle’ 79
Boris Drenkov
Part II Conflict through Shakespeare
7 Introduction 95
Carla Dente
8 Translating Shakespeare in Sociolinguistic Conflicts:
A Preliminary European Study 103
Jesús Tronch-Pérez
9 Shakespeare and the Continental Avant-G arde through
García Lorca’s El público (1930) 119
Juan F. Cerdá
v
vi Contents
10 Negotiating the Memory of the ‘People’s War’: Hamlet and
the Ghosts of Welfare in A Diary for Timothy by Humphrey
Jennings (1944–45) 132
Alessandra Marzola
11 ‘IN THE FEARFUL ARMOUR’: Shakespeare, Heiner Müller
and the Wall 145
Miguel Ramalhete Gomes
12 From Individual Conflict to Interlocking Conflicts:
Performing The Merchant of Venice for
New European Audiences 157
Francesca Rayner
13 Cut’n’mix King Lear: Second Generation and
Asian-British Identities 170
Alessandra Marino
Part III Shakespeare in Times of Conflict
14 Introduction 187
Manfred Pfister
15 Work of National Importance: Shakespeare in Dartmoor 193
Clara Calvo
16 ‘The play’s the thing’: Hamlet in a Romanian Wartime
Political Prison 209
Monica Matei-Chesnoiu
17 ‘A tongue in every wound of Caesar’: Performing Julius
Caesar behind Barbed Wire during the Second World War 222
Ton Hoenselaars
18 ‘And, by opposing, end them’: The Rhetoric of
Translators’ Polemics 237
Anna Cetera
19 Shakespeare’s Sonnets de profundis 250
Manfred Pfister
Select Bibliography 257
Name Index 261
Subject Index 272
List of Illustrations
Foreword Fredson Bowers and junior researcher, Matthew
Bruccoli at the Hinman Collator. Courtesy of
Special Collections, University of Virginia. xv
12.1 Shylock (António Durães) lying on top of Antonio
(Albano Jerónimo) in Ricardo Pais’s production of The
Merchant of Venice. Porto, Teatro Nacional São João, 2008.
Courtesy of the photographer, João Tuna. 164
12.2 Jessica (Sara Carinhas) in Ricardo Pais’s production of
The Merchant of Venice. Porto, Teatro Nacional São João,
2008. Courtesy of the photographer, João Tuna. 166
15.1 Concert Party Programme. Dartmoor, 26 September 1917.
Courtesy of Special Collections, Leeds University Library. 196
15.2 Fancy Dress Ball. Dartmoor, 4 March 1919. Courtesy of
Special Collections, Leeds University Library. 200
15.3 Fancy Dress Ball. Dartmoor, 12 April 1919. Courtesy of
Special Collections, Leeds University Library. 201
16.1 Hamlet’s ‘To be or not to be’ soliloquy in a Romanian
prison cell. Timis¸oara, 1942. Courtesy of the Romanian
Academy Library. 215
16.2 Hamlet, interpreted by Surulescu, in a Romanian prison
production. Timis¸oara, 1942. Courtesy of the Romanian
Academy Library. 216
17.1 Review of Hans José Rehfisch’s production of Julius Caesar.
Sefton Camp, Isle of Man, 1940. Originally published in
The Sefton Pioneer, 25 November 1940. Courtesy of Manx
National Heritage. 226
18.1 Marsyas and Apollo. The House of Aion, Paphos. Fourth
century. Photo by Waldemar Jerke. Courtesy of the Polish
Centre of Mediterranean Archaeology of the University
of Warsaw. 238
vii
Notes on Contributors
Clara Calvo is Professor of English Studies at the University of Murcia
(Spain). Her research interests include Shakespeare’s afterlives and the
role of Shakespeare in a shared European transnational cultural iden-
tity. From 1995 to 2005 she was in charge of the stylistics section of
The Year’s Work in English Studies. She is the author of Power Relations
and Fool- Master Discourse in Shakespeare (1991) and has co- authored,
with Jean- Jacques Weber, The Literature Workbook (1998). She has
edited, with Ton Hoenselaars, a volume on European Shakespeares for
The Shakespearean International Yearbook (2008) and an issue of Critical
Survey on Shakespeare and the Cultures of Commemoration (2011). She is
currently engaged in two funded research projects on ‘Shakespearean
Anniversaries’ and ‘Shakespeare and the First World War’.
Juan F. Cerdá is Lecturer at the University of Murcia, Spain. He is
a member of the research project ‘Shakespeare in Spain within the
Framework of his European Reception’, in which context he has been
researching the role of Shakespearean drama in twentieth- century
Spanish theatre and film. His latest publications include essays on
Shakespeare in García Lorca’s early poems (2011), Shakespearean film
adaptations at the time of Franco’s dictatorship (2011), and newsp aper
reviews of Shakespearean performances in early twentieth- century
Madrid (forthcoming in Cahiers Élisabéthains).
Anna Cetera is Associate Professor of English Literature at the University
of Warsaw, in Poland. Her publications include two monographs:
Enter Lear. The Translator’s Part in Performance (2008) and Smak morwy.
U z´ródeł recepcji przekładów Szekspira w Polsce [Mulberry Taste: The
Beginnings of the Polish Reception of Shakespeare in Translation] (2009). She
has also published in academic journals on Shakespeare and censorship,
Shakespeare and war, and drama translation. She is currently editing
a new series of Polish translations of Shakespeare (Richard II, 2009;
Macbeth, 2011; Twelfth Night, 2012; The Tempest, 2012) and a collection
of essays entitled Shakespeare Mania.
Carla Dente is Professor of English at the University of Pisa, Italy. She
has published extensively on theatre studies along the lines of textual
analysis and the investigation of specific theatre and cultural p henomena.
viii
Notes on Contributors ix
She has worked on contemporary, Renaissance and Restoration p laywrights.
Her essays on Shakespeare include studies on The Merchant of Venice,
The Taming of the Shrew, Hamlet, A Midsummer Night’s Dream and The
Comedy of Errors. She is the author of Trittico and La recita del diritto
(1995), the editor of Teatro inglese contemporaneo (1995) and Dibattito sul
teatro (2006), and the c o- editor of Hamlet Promptbooks of the Nineteenth
Century (2002; electronic publication), Conflict Zones: Actions Languages
Mediations (2004), Proteus: The Languages of Metamorphosis (2005),
Crossing Time and Space: Shakespeare Translations in Present- day Europe
(2008) and Translation Practices (2009). She is currently working on
theatre and the law.
Boris Drenkov holds a PhD from the University of Munich with
a dissertation on the cult of Elizabeth in sixteenth- and s eventeenth-
century England. He has taught English literature in Siegen and Munich
(Germany) as well as in other parts of Europe and in the United States.
He has taken part in numerous conferences on Renaissance literature
in Europe and North America and has published articles on the English
Renaissance and literary theory in France and Italy.
Małgorzata Grzegorzewska teaches English Literature at the Institute
of English Studies, University of Warsaw, Poland. She has published
on Renaissance poetry and drama. She is the author of The Medicine of
Cherries. English Renaissance Theories of Poetry (2003) and three books
in Polish, two of which are devoted to Shakespeare’s tragedies: Scena
we krwi [Stage in Blood] (2006) and Kamienny ołtarz [The Altar of Stone]
(2007). Her most recent publication, Trop innego głosu [The Voice of the
Other] (2011) discusses the uses of rhetorical prosopopoeia in early
modern English poetry.
Ton Hoenselaars is Professor of Early Modern Literature and
Culture at Utrecht University, the Netherlands. He is the President of
the European Shakespeare Research Association (ESRA). His books include
Shakespeare’s History Plays (2004) and Shakespeare and the Language of
Translation (2004; revised edition, 2012). Currently, he is one of the
editors of the Cambridge World Shakespeare Encyclopedia, and is complet-
ing a book on Shakespeare at the civilian internment camp of Ruhleben
(Berlin) during the First World War.
Alessandra Marino is Research Associate at the Open University (UK)
within the project ‘Oecumene: Citizenship after Orientalism’. She com-
pleted her PhD in Postcolonial and Cultural Studies at the University
of Naples, ‘L’Orientale’. Her research fields range from postcolonial