By M. Jones
Shakespeare's tradition in sleek functionality is an unique examine on the interface of a historicizing literary feedback and the learn of contemporary functionality. In a serious weather that perspectives the cultural item of functionality as real in itself, is there any element in exploring a script's unique background? the author argues for a dialogic realizing of Shakespeare's performs in functionality relative to unresolved problems with modernity, in a learn of contemporary productions on level and reveal.
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Extra info for Shakespeare's culture in modern performance
4. Kate’s silence is unambiguous. She has not consented to marriage. 1 Although troubling to modern sensibilities, literary critics have not always read the issue of consent as one that would have concerned Elizabethan playgoers. 3 I want to argue that, on the contrary, the issue of consent had immediate contemporary relevance in the context of the ambiguities surrounding marriage practice in the period. 168) at the wedding, are fraught with controversy. 7 In 1563 the Roman Catholic Church responded to the reformers by setting out its position in the twenty-fourth session of the Council of Trent and reiterating the sacramental nature of marriage.
In Zeffirelli’s film, it is likely that the ‘star’ narrative of the famous married couple, together with the sumptuous Renaissance sets, obscured the film’s new emphasis noted by some contemporary reviewers. Graham Holderness remarks on the strong linking of the off-screen and on-screen roles: ‘ “the love-at-first-sight” motif is rendered conspicuous in the film by looks and gestures’, an effect that is also reinforced by Nino Rota’s romantic music. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-25 36 Shakespeare’s Culture in Modern Performance Zeffirelli/Richard Burton Petruchio is nastier still.
The reference to ‘independent womanhood’ has particular relevance to the political context of Massingham’s performance in 1928. The year saw the passing of the Equal Franchise Act, granting the vote to all women of 21 and over. The new summer festival opened at the temporary Memorial Theatre at the Greenhill Street cinema, which the Stratford players made their home when fire destroyed the old theatre in March 1926. The Birmingham Mail (19 April 1927) described The Taming of the Shrew as a ‘brilliant performance’; ‘a great curly-locked Hectoring brigand of a fellow, Mr.
Shakespeare's culture in modern performance by M. Jones