The performance of Shakespeare in France since the Second World War: re-imaging Shakespeare
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Lewiston [u.a.]
Mellen
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references (p. [595]-602) and index |
| Beschreibung: | iii, 616 S. graph. Darst. |
| ISBN: | 0773458913 |
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| adam_text | THE PERFORMANCE
OF SHAKESPEARE IN FRANCE
SINCE THE SECOND WORLD WAR
Re-Imagining Shakespeare
Nicole Fayard
The Edwin Melien Press
Lewiston»Queenston»Lampeter
Table of Contents
Preface by Professor Richard Foulkes i
Acknowledgments v
Introduction 1
Chapter 1 Shakespeare in France after the Second World War 7
1 1 The naturalisation of Shakespeare 9
1 2 The French need for Shakespeare: Shakespeare in France before
121 Shakespeare during the occupation 15
122 Jean-Louis Barrault: A director s view of the need for
Shakespeare after the Liberation 20
1 3 Shakespeare and the renewal of French theatrical production
1950-1964 23
131 Statistical evidence for Shakespeare s increasing appeal in the
late 1950s 23
132 Shakespeare, popular theatre, and theatrical decentralisation 26
133 Expansion of the Shakespearian repertoire 31
134 Promotion of the comedies and histories 32
135A broader variety of production techniques 35
1 4 Modernity of the authentic Shakespeare 36
1 5 Political Shakespeare 39
1 6 New beginnings, or the beginning of the end? 43
Chapter 2 New Beginnings: Shakespeare in France in the 1960s
2 1 Continued presence of Shakespeare on the French stage
2 2 New theories
2 3 Shakespeare and the turning point of 1964
2 4 Shakespeare our contemporary
241 Shakespeare, Brecht and Kott
242 History lessons
2 5 Shakespeare and the young directors
2 6 Changes in the Shakespearian repertoire
261 The histories and tragedies and the Brecht-Kott connection
262 The decade of Shakespeare s comedies
2 7 The end of an era: May 1968 and the Villeurbanne
Manifesto
Chapter 3 More Shakespearian than Shakespeare: the director
as creator
3 1 The aftermath of May 1968: the return to order
311 Institutional reasons for Shakespeare s vitality
312 Artistic reasons for Shakespeare s vitality
313 Continued link between Shakespeare and theatrical
decentralisation
3 2 Better than Shakespeare? Shakespearian appropriations
321 Debunking traditional interpretations
322 Political appropriations of the histories and tragedies
323 Political appropriations of Shakespeare s comedies
324 Rediscovery of Shakespeare s problem and late plays
3 3 Shakespeare and the beginnings of a post-modern aesthetic
331 Textual appropriations: adapting Shakespeare s plays
332 Visual radicalisations of Shakespeare s plays
3321 Baroque Shakespeare: the theatre and the other stage
3322 Iconoclastic Shakespeare
Chapter 4 Reinventing Shakespeare in the 1980s and 1990s 119
4 1 Shakespeare: a new inspiration for French theatre? 124
411 Vitality of Shakespearian production 124
412 Institutional reasons for Shakespeare s vitality 126
413 Artistic reasons for Shakespeare s vitality 128
4 2 Changes in the Shakespearian repertoire 130
421 Shakespeare and the quest for meaningful plays 131
422 Form over content: avoidance of Shakespeare s political
significance 134
423 Shakespeare as material: the history plays, problem and late
play, and adaptations 137
424 Leading role of A Midsummer Night s Dream 142
4 3 Reinventing the authentic Shakespeare: post-modern
reconstruction 144
431 Rejecting interpretation and performing the Shakespearian
enigma 145
432A textual restoration: recreating the Shakespearian text 149
433 Reinventing Shakespeare: the reconstruction of the
theatrical heritage 151
4331 The re-introduction of the empty stage 152
4332 The reconstruction of theatrical culture 153
4333 Shakespeare and other theatrical traditions 156
4 4 Re-imagining Shakespeare: a theatre of images 158
441 Theatre within theatre: theatricalisation 159
4411 Conspicuous theatricality 160
4412 Disjunction 162
4413 The use of quotations 164
4414 Destabilising the subject 167
442A Shakespearian theatre of images 169
Chapter 5 1990s young directors and new directions 175
5 1 Shakespeare as performative machine 178
5 2 Shakespeare as material: 1990s radicalisations 186
5 3 New political appropriations of Shakespeare s theatre 195
Chapter 6 Three representative directors 203
6 1 Georges Lavaudant: a theatre magician 204
611 Shakespeare s significance for Lavaudant
612 Lavaudant s iconoclastic Shakespeare
6121 Adaptation, disjunction and the mixing of genres
6122 An anti-historical approach
6123 Conspicuous theatricality (1)
6124 The use of familiar icons and quotations
6125 Confrontation of fictional and non-fictional time and space
613 Radicalisation of the theatre metaphor: theatre of image
6131 Rejection of intention: open-endedness
6132 Contradictory acting styles
6133 Detachable images: theatre magic
6134 Conspicuous theatricality (2): interaction with the audience
614 Conclusion
6 2 Daniel Mesguich s Shakespearian play
621 Mesguich and Shakespeare
622 Questioning the authority of the text
623 The play of meaning
6231 The library
6232 The Babelisation of language
624 Semantic and structural dislocation and interruption
6241 The language of silence
6242 Verbal and narrative dislocation
625 The theatre metaphor
6251 Repetition and redoublement
6252 Ghosts and doubles
6253 Drawing attention to the role of the audience
626 The dream machine
627 Conclusion
6 3 Stephane Braunschweig s three-dimensional Shakespeare 250
631 Braunschweig s theatre of contradictions
632 Structuring the space: the theatre machine
6321 The slope
6322 The stairwell
6323 Contrasts and symmetry
633A rhetoric of movement, speech and attitudes
634 Braunschweig s political machine
635 Conclusion
Chapter 7
Explaining Shakespeare s permanence in France
Shakespeare and cultural materialism
The Shakespeare Myth
Shakespearian production - a field of cultural production?
Position of Shakespeare s theatre
The rules of the field
Pure Shakespearian aesthetic
Imposing limits to the field
Established directors resistance strategies
Policing the field: the critics
Directors strategies of distinction
Discontinuity, rupture, difference and revolution
Subversiveness and formal changes
Reflexivity
Redefining Shakespeare s meaning
Invoking Shakespeare s intention ~
Selecting plays
Disinterestedness
Consecration
Conclusion
Appendix The Tables
Reading the tables
Productions 1959/60 to 1967/68 (1-119)
Productions 1968/69 to 1980/81 (120-363)
Productions 1981/82 to 1996/97 (364-808)
Bibliography
Index
|
| adam_txt |
THE PERFORMANCE
OF SHAKESPEARE IN FRANCE
SINCE THE SECOND WORLD WAR
Re-Imagining Shakespeare
Nicole Fayard
The Edwin Melien Press
Lewiston»Queenston»Lampeter
Table of Contents
Preface by Professor Richard Foulkes i
Acknowledgments v
Introduction 1
Chapter 1 Shakespeare in France after the Second World War 7
1 1 The naturalisation of Shakespeare 9
1 2 The French need for Shakespeare: Shakespeare in France before
121 Shakespeare during the occupation 15
122 Jean-Louis Barrault: A director's view of the need for
Shakespeare after the Liberation 20
1 3 Shakespeare and the renewal of French theatrical production
1950-1964 23
131 Statistical evidence for Shakespeare's increasing appeal in the
late 1950s 23
132 Shakespeare, popular theatre, and theatrical decentralisation 26
133 Expansion of the Shakespearian repertoire 31
134 Promotion of the comedies and histories 32
135A broader variety of production techniques 35
1 4 Modernity of the authentic Shakespeare 36
1 5 Political Shakespeare 39
1 6 New beginnings, or the beginning of the end? 43
Chapter 2 New Beginnings: Shakespeare in France in the 1960s
2 1 Continued presence of Shakespeare on the French stage
2 2 New theories
2 3 Shakespeare and the turning point of 1964
2 4 Shakespeare our contemporary
241 Shakespeare, Brecht and Kott
242 History lessons
2 5 Shakespeare and the young directors
2 6 Changes in the Shakespearian repertoire
261 The histories and tragedies and the Brecht-Kott connection
262 The decade of Shakespeare's comedies
2 7 The end of an era: May 1968 and the Villeurbanne
Manifesto
Chapter 3 More Shakespearian than Shakespeare: the director
as creator
3 1 The aftermath of May 1968: the return to order
311 Institutional reasons for Shakespeare's vitality
312 Artistic reasons for Shakespeare's vitality
313 Continued link between Shakespeare and theatrical
decentralisation
3 2 Better than Shakespeare? Shakespearian appropriations
321 Debunking traditional interpretations
322 Political appropriations of the histories and tragedies
323 Political appropriations of Shakespeare's comedies
324 Rediscovery of Shakespeare's problem and late plays
3 3 Shakespeare and the beginnings of a post-modern aesthetic
331 Textual appropriations: adapting Shakespeare's plays
332 Visual radicalisations of Shakespeare's plays
3321 Baroque Shakespeare: the theatre and the other stage
3322 Iconoclastic Shakespeare
Chapter 4 Reinventing Shakespeare in the 1980s and 1990s 119
4 1 Shakespeare: a new inspiration for French theatre? 124
411 Vitality of Shakespearian production 124
412 Institutional reasons for Shakespeare's vitality 126
413 Artistic reasons for Shakespeare's vitality 128
4 2 Changes in the Shakespearian repertoire 130
421 Shakespeare and the quest for meaningful plays 131
422 Form over content: avoidance of Shakespeare's political
significance 134
423 Shakespeare as material: the history plays, problem and late
play, and adaptations 137
424 Leading role of A Midsummer Night's Dream 142
4 3 Reinventing the authentic Shakespeare: post-modern
reconstruction 144
431 Rejecting interpretation and performing the Shakespearian
enigma 145
432A textual restoration: recreating the Shakespearian text 149
433 Reinventing Shakespeare: the reconstruction of the
theatrical heritage 151
4331 The re-introduction of the empty stage 152
4332 The reconstruction of theatrical culture 153
4333 Shakespeare and other theatrical traditions 156
4 4 Re-imagining Shakespeare: a theatre of images 158
441 Theatre within theatre: theatricalisation 159
4411 Conspicuous theatricality 160
4412 Disjunction 162
4413 The use of quotations 164
4414 Destabilising the subject 167
442A Shakespearian theatre of images 169
Chapter 5 1990s young directors and new directions 175
5 1 Shakespeare as performative machine 178
5 2 Shakespeare as material: 1990s radicalisations 186
5 3 New political appropriations of Shakespeare's theatre 195
Chapter 6 Three representative directors 203
6 1 Georges Lavaudant: a theatre magician 204
611 Shakespeare's significance for Lavaudant
612 Lavaudant's iconoclastic Shakespeare
6121 Adaptation, disjunction and the mixing of genres
6122 An anti-historical approach
6123 Conspicuous theatricality (1)
6124 The use of familiar icons and quotations
6125 Confrontation of fictional and non-fictional time and space
613 Radicalisation of the theatre metaphor: theatre of image
6131 Rejection of intention: open-endedness
6132 Contradictory acting styles
6133 Detachable images: theatre magic
6134 Conspicuous theatricality (2): interaction with the audience
614 Conclusion
6 2 Daniel Mesguich's Shakespearian play
621 Mesguich and Shakespeare
622 Questioning the authority of the text
623 The play of meaning
6231 The library
6232 The Babelisation of language
624 Semantic and structural dislocation and interruption
6241 The language of silence
6242 Verbal and narrative dislocation
625 The theatre metaphor
6251 Repetition and redoublement
6252 Ghosts and doubles
6253 Drawing attention to the role of the audience
626 The dream machine
627 Conclusion
6 3 Stephane Braunschweig's three-dimensional Shakespeare 250
631 Braunschweig's theatre of contradictions
632 Structuring the space: the theatre machine
6321 The slope
6322 The stairwell
6323 Contrasts and symmetry
633A rhetoric of movement, speech and attitudes
634 Braunschweig's political machine
635 Conclusion
Chapter 7
Explaining Shakespeare's permanence in France
Shakespeare and cultural materialism
The Shakespeare Myth
Shakespearian production - a field of cultural production?
Position of Shakespeare's theatre
The rules of the field
Pure Shakespearian aesthetic
Imposing limits to the field
Established directors' resistance strategies
Policing the field: the critics
Directors' strategies of distinction
Discontinuity, rupture, difference and revolution
Subversiveness and formal changes
Reflexivity
Redefining Shakespeare's meaning
Invoking Shakespeare's intention ~
Selecting plays
Disinterestedness
Consecration
Conclusion
Appendix The Tables
Reading the tables
Productions 1959/60 to 1967/68 (1-119)
Productions 1968/69 to 1980/81 (120-363)
Productions 1981/82 to 1996/97 (364-808)
Bibliography
Index |
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| spellingShingle | Fayard, Nicole The performance of Shakespeare in France since the Second World War re-imaging Shakespeare Shakespeare, William 1564-1616 Stage history France Shakespeare, William 1564-1616 Stage history 1950- Shakespeare, William 1564-1616 Appreciation France Shakespeare, William 1564-1616 (DE-588)118613723 gnd Aufführung (DE-588)4143388-9 gnd |
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| title | The performance of Shakespeare in France since the Second World War re-imaging Shakespeare |
| title_auth | The performance of Shakespeare in France since the Second World War re-imaging Shakespeare |
| title_exact_search | The performance of Shakespeare in France since the Second World War re-imaging Shakespeare |
| title_exact_search_txtP | The performance of Shakespeare in France since the Second World War re-imaging Shakespeare |
| title_full | The performance of Shakespeare in France since the Second World War re-imaging Shakespeare Nicole Fayard |
| title_fullStr | The performance of Shakespeare in France since the Second World War re-imaging Shakespeare Nicole Fayard |
| title_full_unstemmed | The performance of Shakespeare in France since the Second World War re-imaging Shakespeare Nicole Fayard |
| title_short | The performance of Shakespeare in France since the Second World War |
| title_sort | the performance of shakespeare in france since the second world war re imaging shakespeare |
| title_sub | re-imaging Shakespeare |
| topic | Shakespeare, William 1564-1616 Stage history France Shakespeare, William 1564-1616 Stage history 1950- Shakespeare, William 1564-1616 Appreciation France Shakespeare, William 1564-1616 (DE-588)118613723 gnd Aufführung (DE-588)4143388-9 gnd |
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