European Shakespeare on Either Side of the Channel

Hoenselaars, Ton; Calvo, Clara

doi:10.1080/17450910701252198

Cited by 3 publications

(2 citation statements)

References 2 publications

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“…Even though Shakespeare has been part of Continental culture from circa 1590, it was only 400 years later that the investigation of Shakespearean staging in Europe became a distinct research area with a pan‐European perspective and a strong sense of interrelations between the UK and the Continent. The key moment came in the 1990s, which saw “[t]he steady rise of the self‐acknowledged European Shakespeareans” and the establishment of the European Shakespeare Research Association, ESRA (Hoenselaars and Calvo). It was a critical time in the history of Europe.…”

Section: Performance Criticismmentioning

confidence: 99%

“…The reference to Regietheater as the tradition of “director's theatre,” which originated in Germany, and the evocation of Brecht suggest that what is seen as European from an American perspective is German‐influenced. More broadly, the reception of these two productions in New York shows that European Shakespeare performances are seen as part of a shared theatre tradition, despite differences in individual directors' styles. This suggests that “United in Diversity,” the European Union motto adopted in 2000, could be applied to European stagings of Shakespeare.…”

Section: European Shakespeare Traditionmentioning

confidence: 99%

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Performing Shakespeare in Europe

Mancewicz

2016

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The history of performing Shakespeare in Europe and the establishment of European Shakespeare Studies have been closely connected with European culture and politics. The emergence of the European Shakespeare Research Association, ESRA, has coincided with the fall of Communism and the political transformations in Europe after 1989, as well as the growing professionalisation and internationalisation of Shakespeare criticism. In the twenty‐first century, European studies of Shakespeare continue to flourish, with vibrant research centres extending from Murcia in Spain to Zaporizhzhia in Ukraine, and with a dynamic European Shakespeare Festivals Network. At the heart of European Shakespeare Studies has been the examination of Shakespeare's reception in different national traditions across Europe. Performance criticism has played a crucial role in this process, given that theatre as a medium transcends linguistic barriers, while encouraging local traditions of translation and staging. Productions of Shakespeare have also provided a forum for articulating current political and social concerns, particularly in times of censorship, which has made them exceptionally appealing to scholars interested in national cultures and histories. This article outlines four aspects that represent Shakespeare's relationship with European performance: theatrical exchanges between England and the Continent as the beginning of the European Shakespeare tradition, translation as an integral part of stage practice, the significance of performance criticism in European Shakespeare Studies and the notion of a shared European theatre tradition. Their discussion combines elements of a historical narrative with a critical overview. The article concludes with new perspectives in the twenty‐first century Shakespeare productions, as the Eurozone debt crisis and immigration crisis pose new challenges and responsibilities for artists and academics.

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Section: Performance Criticismmentioning

confidence: 99%

Section: European Shakespeare Traditionmentioning

confidence: 99%

Performing Shakespeare in Europe

Mancewicz

2016

Literature Compass

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Shakespeare and Early Modern Europe: A Critical Survey

Semple

Vyroubalová

2018

Shakespeare

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Shakespeare in Spain: Current Research Trends

Calvo

2009

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This essays aims to offer an overview of recent critical work on the reception of Shakespeare and his works in Spain. It does not offer a history of how Shakespeare fared in Spain across the centuries or a survey of work on Shakespeare by Spanish scholars published in Spain; instead, it takes stock to determine what research trends have prevailed in the last decade and how they have aimed to promote the study of the Shakespeare industry in Spain. It also suggests how current research increasingly regards Shakespeare's reception in Spain as part of a larger picture and a bigger research area, i.e. Shakespeare in Europe. While doing so, it argues that the study of Shakespeare in Spain is still a site displaying a 'work in progress' sign -although much has been done recently, the field is slightly behind its counterparts in some European countries. The only possible conclusion, given the state of research in the field, is that there is still ample room for imaginative work in Shakespeare's Spanish afterlives.

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European Shakespeare on Either Side of the Channel

Cited by 3 publications

References 2 publications

Performing Shakespeare in Europe

Performing Shakespeare in Europe

Shakespeare and Early Modern Europe: A Critical Survey

Shakespeare in Spain: Current Research Trends

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