Shakespeare Interpretations: A Selective Annotated Bibliography

Introduction

Spain, Tokyo, South Africa, Prisons, the United States, and England: the Bard is quite the versatile fellow.  From the 1600’s to present day performances many artistic directors, untrained citizens, professional theatres, schools, and convicted men have provided a rebirth of Shakespeare over the centuries, adapting the works to fit their cultural idiosyncrasies. Many places unknown to Shakespeare’s works, such as Spain and Tokyo, are now joining the Elizabethan reality with their own twists and turns.

Why all of these different ethnic backgrounds re-interpreting Shakespeare? What makes him so important? According to the BBC Shakespeare Plays site,” Shakespeare is rightly called the world’s greatest playwright for the soaring beauty of his language, for his profound insight into human nature…He was, and remains, a superb entertainer.” The Bard’s works have an adaptability that make them re-inventible, allowing different cultures to present their political and cultural struggles in an entertaining way. By bringing these issues to the stage, they become exposed, and so Shakespeare has provided a universal voice regardless of language barriers.

The following selective annotated bibliography includes a range of sources on the topic of varying interpretations and performances of Shakespeare around the world. There are a few resources that provide a visual reference (MIT, BBC), definitions of modern English words and charts on each of Shakespeare’s plays (Glossary), and material on the different staging methods of Elizabethan plays (Gurr). These fifteen works provide criticism on the overall performance, and the challenges of interpreting Shakespeare into a non-traditional identity. Also included are the background stories of the actors, directors, and theatres that collaborated during the production process.

A large chunk of the resources provided cover modern performances, however, there is a range of dates between the materials. For example, The BBC Shakespeare Plays came out during the 1970s, Hornback’s essay covers the 1821 to 1844 time period, Gurr’s book ranges from 1574 to 1642, and Gregor’s article was written in 1997. Due to the focus of this selective bibliography being on global Shakespearean performances, the timeline goes from the Bard’s beginning seasons to specific, Internet websites providing visual performances from a variety of different regions (MIT).

Students, scholars, and teachers can utilize this selective annotated bibliography in a variety of ways. In itself, these resources can be used to provide information on several regions of who have chosen to embrace Shakespeare, and adapt him to their culture. Researchers and the general public can also use this document as a lead on the growing adaptations of the Bard’s works around the world.

Selective Annotated Bibliography

Ackerman, Zeno. “Performing Oblivion/Enacting Remembrance: The Merchant of Venice in West Germany, 1945-1961.” Shakespeare Quarterly. 62.3 (2011): 364 –395. Print.

-After the Holocaust one would think that showing a supposedly “anti-Semitic” play would be too controversial to survive, yet the 1943 production by the Vienna Burgtheatre proved successful and manifested the local pressures of confronting the Holocaust (341). From the years of 1952 with the first post-war production of Merchant (382) to interviews in 1984, Zeno covers the controversy of Shylock’s character. This essay gives its reader insight into the cultural changes of a Shakespearean character, in this case one who is struggling to survive the German guilt of the post-war years, especially during 1952 to 1961 (384-388).

 “The BBC Shakespeare Plays.”1984. Ambrose Videos, Inc. Oct 03, 2013.

-Located under the Tennessee Tech Library (English/Literature Database), these videos provide a visual, Elizabethan reference for students, teachers, and other faculty members. All of Shakespeare’s plays are provided, all divided into five acts, with instructions on how to site this source including MLA, APA, and Chicago. Starring British actors Helen Mirren, Claire Bloom, Patrick Stewart, and Bob Hoskins, just to name a few. This site also provides a short chapter description, metadiscription, and keywords. (For link to this site look for BBC under Profiles)

Bosman, Anston. “Cape of Storms: The Baxter Theatre Center – RSC Tempest, 2009.” Shakespeare Quarterly. 61.1 (2010): 108-117. Print.

-A shorter article that covers the 2009 production of Tempest under the partnership of two theatres (Baxter and the RSC), as well as two of South Africa’s finest actors John Kani and Antony Sher (108). Bosmons concern in the article comes from the productions similarity to the stereotypical, African look of The Lion King Broadway (110), and its outdated political tensions (110-113). More of a spectacle than a modern, political piece, this Shakespearean production, directed by Janice Honeyman, provides the reader with a reference on the successful blending of puppetry (111), dance (114), and bits of African culture with illustrations included.

Crystal, David, Ben Crystal, and Stanely Wells. Shakespeare’s Words: A Glossary and Language Companion. London: Penguin, 2004. Print.

– From “afeared” to “zwagger” this comprehensive, word bank provides greater depth for the reader questioning Shakespearean language. Written by the Crystal duo (father and son), with a preface by Stanley Wells, the book also contains “Abbreviations, Symbols, and Conventions”, as well as several pages dedicated to the “Frequently Encountered Words” (FEW) of Shakespeare texts. One of the most helpful parts of this resource are the “Shakespearian Circles, Synopses, and Dramatis Personae” available at the back of the book. These diagrams prove a valuable tool to both beginners and scholars of Shakespeare.

 Donaldson, Peter S. MIT Global Shakespeares. Massachusetts Institute of Technology. 2010. Web. 27 September 2013.

-A video archive dedicated to the documentation of global Shakespeare productions, and making them attainable for the general public. The site includes videos of performances from Europe to the Arab world, scripts (both English and international), and essays. It also has interviews, a bibliography, and information on both their international staff and the international influence of Shakespeare on the countries that they discuss. Along with the clips is information on the director, language/country, and the year it was produced. This reference provides a valuable container of global Shakespeare performance for compare/contrast and cultural purposes.

(http://globalshakespeares.mit.edu/about/)

 Gregor, Graham Keith. “ “Shakespeare – manía” : Twelfth Night in Madrid, 1996-97.”Shakespeare Quarterly. 49.4 (1998): 421-431. Web. 30 September 2013.

-An earlier article written in 1997, Gregor explains the emergence of Shakespeare in Spain, concentrating on the interpretation of two different productions of Twelfth Night at the 1996 autumn festival in Madrid. He explains the three popular reasons on Shakespeare’s increasing popularity (421-422), gives criticisms on the translation of the characters (426), and the back-story on the development of these shows (423,431). More information on the second production is found in part three of the essay, with illustrations included, providing the reader with written and visual information on the Bard’s works in the Spanish-speaking world. (Found in JSTOR)

Folger Shakespeare Library: Shakespeare Quarterly. Folger Shakespeare Library. N/A. Web. 27 September 2013.

– This site provides the reader with the Shakespeare Quarterly homepage, since Folger is their main publisher, as well as vital background information on Shakespeare.  The site provides the history of SQ, and current calls for essays, articles, and book reviews. On the left is a link to the Editorial Board, Back Issues, and a layout of content for Current Issues. Towards the top is a tab Discover Shakespeare, which provides historical information on the Bard’s life, works, links, and Shakespeare in American Life.

(Click on this link then go down to Publications on the left: http://www.folger.edu/Content/About-Us/About-Us.cfm)

Gurr, Andrew. The Shakespearean Stage, 1574-1642. Cambridge: Syndics, 1970. Print.

-A 1970s text on Elizabethan style staging, the entire text is a great resource for an intimate understanding of traditional Shakespearean performance; however, chapters four and five primarily cover this topic. Chapter four (“The Playhouses”) provides some background on the politics and land disputes during the time period. This compliments chapter five (“The Staging”), which covers the use of props, stage space, and visual effects. Especially useful are pages 118 on the different businesses of staging, 122 on the effects of daylight during performances, and 138 on the director’s involvement. Also included are illustrations and a list of properties (129).

Hornback, Robert. “Black Shakespeares vs. Minstrel Burlesques: “Proper” English, Racist Blackface Dialect, and the Contest for Representing “Blackness” 1821-1844.”Shakespeare Studies. 38 (2010): 125-160. Web. 1 Oct. 2013.

– This very long essay covers the controversy of black identities used in Shakespeare’s works, and the condescending treatment of emerging African American actors as they struggled to utilize the Bard’s works to represent their cultural identity (125-127). A major dilemma arouse from the mispronunciations of Shakespeare with African American dialect, leading to conflict with other leading theatres (135), of which an excerpt is provided (137). The work introduces the reader to James Helwett, the first professional black Shakespearean actor, as well as the racial challenges of his recognition during this time period.

(Go to http://www2.tntech.edu/library/research/databases.asp?subject=B and click on Humanities Full Text on the right, type in Hornback, Robert, scroll down to #3)

Knowles, Richard Paul. “From Dream to Machine: Peter Brook, Robert Lepage, and the Contemporary Shakespearean Director as (Post) Modernist.” Theatre Journal. 50.2 (189-206): Web. 28 Sept. 2013.

-In this lengthy journal article, Knowles compares the directing approaches of Peter Brook and Robert Lepage of Shakespeare’s Midsummer Nights Dream, highlighting the connections and disconnections of the (post) modern methods used in either of the director’s plays. First, Brook’s Dreams is compared to the modernist style of Beckett’s Waiting For Godot (196). Knowles then furthers his comparison with Lepage’s interpretation of Dreams and Hamlet, Elsinore (200), to the “Hamletmachines” of the postmodern era where actors are considered interpretive machines (203). This article provides its usefulness in its compare and contrast strategies for the reader to better understand a more recent interpretation of Shakespeare. (Found on JSTOR)

Olsson, R. Micheal. “All the World’s a Stage: Making Sense of Shakespeare.” Proceedings of the American Society for Information, Science, and Technology. 47.1 (2010): 1-10. Web. 1 Oct. 2013.

– This report provides the reader with a look into how acting professionals make sense of Shakespeare, and their personal relationship with the Bard. Olsson first explains the three different psychological methods of questioning used via social interactions (1-3). He then provides pieces of the conversations that he had with directors, actors, and writers (4-9), providing insight related to his study along the way. He concludes this study was to provide a new approach to sense making, based on people’s individual approaches (9). A lengthy list of resources is provided at the end (10).

( http://onlinelibrary.wiley.com/doi/10.1002/meet.14504701115/abstract)

(Also try http://www2.tntech.edu/library/research/databases.asp?subject=B and click on Databases A-Z, scroll down to Wiley Online Library link)

Reiss, Edward. “Globe to Globe: 37 Plays, 37 Languages.” Shakespeare Quarterly. 64.2 (2013): 220-232. Print.

-Reiss discusses his trip to the Shakespeare Globe theatre as he viewed 37 of Shakespeare’s plays in 37 different languages within six weeks (220). The writer covers some basic topics like “Occupying the Stage,” (223) “Gender Switches, Innovations, and Adaptations,” (226) and “Stagecraft” (227). Within these topics are detailed descriptions of the productions ranging from an Israeli The Merchant of Venice (221), a Greek Pericles (223), a Russian Measure for Measure (225), and the Castilian Spanish Henry VIII (227), among others. This essay provides a variety of Shakespearean interpretations, and the value in viewing productions from unfamiliar cultures.

Roberts, Dmae. “In Oregon, A Theater Thrives Despite The Downturn.” Weekend Edition Sunday. NPR. 27 March 2010. Web. 28 September 2013.

-Located on the NPR website under performing arts/theatre, this broadcast covers the theatre community of Ashland, OR. The company performs year-round, its most popular being the yearly Oregon Shakespeare Festival. Ashland’s theatre values a wide range of Shakespearean performances from the traditional, Elizabethan era to modern hip-hop. Despite recent budget cuts, the Oregon Shakespeare Festival continues to attract visitors from different states. This broadcast also discusses the 75-year old theatre’s “American Revolutions” project where 37 plays by new American writers will be staged, all influenced by the Bard’s historical plays. This source provides the reader with a look at how modern American theatre continues to interpret Shakespeare.

(http://www.npr.org/templates/story/story.php?storyId=125232977)

Thornewill, Alice. “Shakespeare Behind Bars.” The Paper. 1 March 2013. Web. 19 Oct. 2013.

– This online newspaper article provides the reader with the back-story of the 1995 program SBB behind the brick walls of the Luther Luckett Correctional Complex in Kentucky. Thornewill cover’s the organizations new program, The Journeyman, which targets young adults, and their mentors whom are SBB veterans. She goes on to cover the challenges the group has overcome, how Shakespeare has transformed their lives, and their upcoming performances, of which are to be performed within the prison.

(http://www.thelouisvillepaper.com/shakespeare-behind-bars/)

Tierney, Robert.  “Othello in Tokyo: Performing Race and Empire in 1903 Japan.”Shakespeare Quarterly. 62.4 (2011): 514-540. Print.

– Originally performed in Tokyo and other major cities of Japan in 1903 (514), Othello was re-invented by director Ninagawa Yukio in 1994 to represent racial tensions that people of the region could understand and connect with. According Tierney, Tsutsumi Harue took the 1903 Osero one step further in Seigeki Osero to modernize Shakespeare with Japanese cultural (515). The essay explains the importance of Japans embracement of Shakespeare during the 1900s, the conflicts with Western views of the play, and the ethnographic transformation of Othello (516). Also included are an illustration (524) and an excerpt from Emi Suiin’s adaption (541).