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Part XVI - Making the Scene

Published online by Cambridge University Press:  17 August 2019

Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

anthologiescutsfilmlandscapemashuppaintingrehearsalscenescenerysymphonic musicAnnis, FrancescaAppia, AdolpheArcoreAsbury, KellyAvena, AntonioBandello, MatteoBarry, SprangerBartolini, LorenzoBolle, RobertoBoško and AdmiraBosnian Civil WarBrkić BoškoBrook, PeterBrown, Ford MadoxByron, George GordonCa’ d’OroCalarco, JoeCassell & Co.Castellani, RenatoCibber, SusannaCovent Garden TheatreCraig, Edward GordonCukor, GeorgeCurcurù, EnzoCurtain (playhouse)D’Annunzio, GabrieleDa Porto, LuigiDanes, ClareDaniel, RonDaoud, AnissaDelacroix, EugèneDench, JudiDiCaprio, LeonardoDicksee, Francis BernardDrury Lane TheatreDuke’s CompanyDuse, EleonoraEgan, ChristopherElliott, WilliamEnglish Civil WarEttore, SolimaniFarrah, AbdelFederal Theatre Negro Unit No. 2Fludd, RobertGarrick, DavidGenet, JeanGérard, RolfGielgud, Sir JohnGlobe (playhouse)Harris, MargaretHayez, FrancescoHaymarket TheatreHoward, JamesHussey, OliviaIrving, HenryIsmic, AdmiraIsraeli-Palestinian ConflictJensen, JaneKamerny, TheatrenKaufman, LloydKeenan, WillKleinert, PeterKrejča, OtomarLaChapelle, DavidLeibovitz, AnnieLiminalitiesLorca, Federico GarcíaLuhrmann, BazLyceum TheatreMadden, BillMadden, JohnManhattanMcKellen, IanMichelozzo di Bartolomeo Michelozzo (called Michelozzo)Morera, José MariáMoscowMotleyNaples Teatro StabileNapoli Teatro Festival ItaliaNero, FrancoNeruda, PabloNew Theatreno. 23 Via CappelloNunn, TrevorOld Vic TheatreOtway, ThomasPalazzo Borghese, ArtenaPepys, SamuelPergamo del Sacro Cingolo for the Duomo, PratoPoel, WilliamPrague National TheatrePritchard, HannahPueblo RevoltPyle, RobertQuinn, MarcRauschenberg, RobertRedgrave, VanessaRestoration TheatreRobbins, JeromeRomanoff and JulietRomeo Y JulietaRomey and JulieRoyal Shakespeare CompanySarajevoSchrot, PeterSelfSeyfried, AmandaShaw, Glen ByamShearer, NormaSon de negros en CubaapartheidStoppard, TomStride, JohnSud Side StoriSvoboda, JosefTairov, AlexanderTeatro alla ScalaThalberg, IrvingBrazilthe forestinterpretation“Lord What Fools these mortals be”Midsummer Night’s DreamMNDprocessscene“Battle Cry for England”famous speechHenry V“Once more unto the breach”different versionseditingFirst Folio“Get thee to a nunnery”HamletQuarto 1Quarto 2Rosencrantz and Guildensternsoliloquy“to be or not to be”Garrick, DavidGhostHecateMedusamurderpaintingwitchadaptationdifferenceFrenchGermanideologyinterpretationlawpunracerescriptingtranslationversionCleopatraDoran, GregoryElizabeth IimagerypoetrypoliticsspaceSwan (playhouse)Walter, HarrietEyre, RichardGrandage, MichaelJingjuKing LearKurita, YoshihiroLee, Byung-hoonNinagawa, YukioNoh theaterNunn, TrevorOng, Keng SenSuzuki, TadashiWu, Hsing-kuoburlesqueCibber, ColleyEuropean politicsfilmHorsesMarston, JohnmedievalismperformancerhetoricRichard IIIaudience responsecommunismdemocracyEuropean UnionforgivenessHolocausthuman failingsideologyJewsKott, Janmasquenational identitynational memoryPolish theaterroliticsRealpolitikreconciliationShakespeare in PolandThe Tempestwedding
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Publisher: Cambridge University Press
Print publication year: 2016

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Further reading

Barucha, Rustom. “Consumed in Singapore: The Intercultural Spectacle of Lear.” Theatre 31.1 (2001): 107–27.Google Scholar
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King Lear and Its Afterlife. Shakespeare Survey 55 (2002).Google Scholar
Several DVDs of King Lear are now available: dir. Nunn, Trevor (Royal Shakespeare Company, 2009); dir. Ninagawa, Yukio (Horipuro, 2008); dir. Eyre, Richard (Royal National Theatre, 2004); The Heart of the King, dir. Amamiya, Nozomi (Bap, 2008).Google Scholar
Several streaming videos of King Lear, with English, Japanese, and Chinese subtitles and detailed production data, are available on A|S|I|A, http://a-s-i-a-web.org/: Lear Is Here, dir. Wu, Hsing-Kuo (Contemporary Legend Theatre, 2001); King Lear, dir. Kurita, Yoshihiro (Niigata City Performing Arts Centre “Ryutopia”, 2004–05); King Uru, dir. Kim, Myung-Gon (National Theatre of Korea, 2000–04); Lear, dir. Ong, Keng Sen (The Japan Foundation, 1997).Google Scholar
Detailed information and various reviews of the productions of King Lear can be accessed electronically: Trevor Nunn’s production of King Lear at http://www.mckellen.com/stage/lear07/; Michael Grandage’s at http://www.theatermania.com/london/news/12-2010/review-roundup-derek-jacobi-opens-in-king-lear-at_32621.html; and Tadashi Suzuki’s at http://www.scot-suzukicompany.com/en/.Google Scholar

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Further reading

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Further reading

Fabiszak, Jacek, and Brzozowska, Natalia. “Magic Storms on Polish Television: The Case of The Tempest.” Shakespeare Bulletin 29 (2011): 359–69.CrossRefGoogle Scholar
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In addition to the works just listed, Notatnik teatralny 62/63 (2011) is thematically devoted to Krzysztof Warlikowski. There are interviews with Warlikowski, interviews with his colleagues and with members of his ensemble, and critical essays devoted to his theatrical productions. These include, among others, his Merchant of Venice, 1994; The Winter’s Tale, 1999; Hamlet, 1997 and 1999; The Taming of the Shrew, 1997; Pericles, 1998; The Tempest, 2000 and 2003; A Midsummer Night’s Dream, 2003; Macbeth, 2004; and African Stories, based on Shakespeare’s King Lear, The Merchant of Venice, and Othello, with fragments of Sound of Ice by Cleaver, Eldridge and Summer by Coetzee, John Maxwell, 2011.Google Scholar

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