3 results
Chapter 10 - ‘I’ll Teach you Differences’
- from Part III - Public Reimaginings
- Edited by Liam E. Semler, University of Sydney, Claire Hansen, Australian National University, Canberra, Jacqueline Manuel, University of Sydney
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- Book:
- Reimagining Shakespeare Education
- Published online:
- 02 February 2023
- Print publication:
- 23 February 2023, pp 159-173
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Summary
This chapter investigates questions of language, context, cross-cultural communication and collective learning through three examples from Fórum Shakespeare. For the past twenty years, the (almost) bi-annual project Fórum Shakespeare has brought young actors from Brazilian peripheries together with theatre makers and audiences to ask questions about multicultural, multilingual and potentially mutually beneficial ways of engaging with Shakespeare. The three case studies discussed in this chapter include: Paul Heritage’s work on Romeo and Juliet with a group of juvenile prisoners in Rio de Janeiro in 1999; Bridget Escolme’s workshops for young people in Rio de Janeiro, Salvador and Brasília in 2011, 2013 and 2014; and Catherine Silverstone’s lecture and workshop for general audiences in São Paulo in 2016. The Fórum – and each case study – insists on the plurality of Shakespeare. The chapter explores how professional and non-professional participants have disturbed the harmful assumptions and challenged the negative expectations that limit young people, while teaching pleasure, resilience and compassion through performance. In Fórum Shakespeare meaning has consistently been constructed through exchange, with participants’ embodied acts of translation introducing new understandings of how working inter-culturally with Shakespeare’s texts can allow different stories to be told.
Chapter Two - Festival showcasing and cultural regeneration
- Edited by Susan Bennett, University of Calgary, Christie Carson, Royal Holloway, University of London
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- Book:
- Shakespeare beyond English
- Published online:
- 05 June 2014
- Print publication:
- 29 August 2013, pp 35-47
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Summary
English-language productions dominate performance traditions for Shakespeare in Aotearoa New Zealand and can be traced to visiting English troupes in the nineteenth and early twentieth centuries, a legacy that survives today in visits by the RSC and the National Theatre, among others. Performances of Shakespeare have also developed locally, especially since the expansion of amateur and professional productions from the mid twentieth century on. Significantly, there is also a small but growing body of work in te reo Māori (Māori language), inaugurated by Pei Te Hurinui Jones' translations, Owhiro: Te Mua o Weneti (Othello, 1944), Te Tangata Whai-Rawa O Weniti (The Merchant of Venice, 1946) and Huria Hiha (Julius Caesar, 1959). Of these translations, to date only Te Tangata Whai-Rawa O Weniti has been performed, directed most notably by Don C. Selwyn as the landmark film The Maori Merchant of Venice (2002). There have also been some smaller-scale Shakespeare projects in te reo Māori, including Merimeri Penfold's translation of nine of Shakespeare's sonnets, Nga Waiata Aroha a Hekepia (2000), Toby Mills' short film Te Po Uriuri (The Enveloping Night, 2001), based on a translation of Sonnet 147, and Te Haumihiata Mason's ‘Oriori 18’ (2009), a translation of Sonnet 18. Mason subsequently translated Troilus and Cressida for Ngākau Toa's production A Toroihi rāua ko Kāhira (Troilus and Cressida), performed at the Globe to Globe Festival. Rawiri Paratene (Ngākau Toa's founder and A Toroihi rāua ko Kāhira's executive producer) recalled his dream after first performing at the Globe to ‘one day…bring a company of Māori back here and…blow this place apart’. The realization of this dream – A Toroihi rāua ko Kāhira – opened the main Festival on 23 April 2012, and Paratene situated the production as a continuation of Selwyn's ‘legacy of taking Te Reo Maori to the World’. This production is the most significant performance of Shakespeare in te reo Māori since Selwyn's film.
‘Honour the real thing’: Shakespeare, Trauma and Titus Andronicus in South Africa
- Edited by Peter Holland, University of Notre Dame, Indiana
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- Book:
- Shakespeare Survey
- Published online:
- 28 November 2009
- Print publication:
- 22 October 2009, pp 46-57
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Summary
The turn to the traumatic has gained considerable currency in a range of humanities’ disciplines over the last fifteen years, alongside an increased popular usage of the term following the inclusion of Post-traumatic Stress Disorder (PTSD) in the Diagnostic and Statistical Manual of Mental Disorders of the American Psychiatric Association in 1980. Trauma, which derives from the Greek τραύμα, literally meaning ‘wound’, denotes both a ‘wound, or external bodily injury in general’ (OED 1), and, in the context of developments in psychoanalysis and psychiatry, it emerges in the late nineteenth century as a ‘psychic injury, esp. one caused by emotional shock the memory of which is repressed and remains unhealed; an internal injury, esp. to the brain, which may result in a behavioural disorder of organic origin’ (OED 2a). The shift to the realm of the psychic, which can be traced through the work of John Erichsen, Jean-Martin Charcot, Sigmund Freud, Josef Breuer and, more recently, Dominick LaCapra, Cathy Caruth, Kirby Farrell, Ruth Leys and Ann Cvetkovich, among others, retains the language of the wound and injury but variously associates it with both behavioural responses to physical injury and, crucially for this article and work in the humanities, to ‘emotional shock’, the effects of which are still being felt. As Caruth summarizes, ‘trauma is described as the response to an unexpected or overwhelming violent event or events that are not fully grasped as they occur, but return later in repeated flashbacks, nightmares, and other repetitive phenomena’. She goes on to argue that this opens a paradox in the traumatic experience: ‘that the most direct seeing of a violent event may occur as an absolute inability to know it; that immediacy, paradoxically, may take the form of belatedness’.