Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Introduction
- 149 Romeo and Juliet 2.1: “But soft, what light through yonder window breaks?”
- 150 A Midsummer Night’s Dream 3.2: “Lord, what fools these mortals be!”
- 151 Henry V 3.1: “Once more unto the breach”
- 152 Hamlet 3.1: “To be or not to be”
- 153 Macbeth 1.3: “king hereafter!”
- 154 Othello 1.3: “far more fair than black”
- 155 Antony and Cleopatra: Interview with Harriet Walter
- 156 King Lear 5.3: “Never, never, never, never, never”
- 157 Richard III 5.4: “My kingdom for a horse!”
- 158 The Tempest 4.1
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
158 - The Tempest 4.1
from Part XVI - Making the Scene
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Introduction
- 149 Romeo and Juliet 2.1: “But soft, what light through yonder window breaks?”
- 150 A Midsummer Night’s Dream 3.2: “Lord, what fools these mortals be!”
- 151 Henry V 3.1: “Once more unto the breach”
- 152 Hamlet 3.1: “To be or not to be”
- 153 Macbeth 1.3: “king hereafter!”
- 154 Othello 1.3: “far more fair than black”
- 155 Antony and Cleopatra: Interview with Harriet Walter
- 156 King Lear 5.3: “Never, never, never, never, never”
- 157 Richard III 5.4: “My kingdom for a horse!”
- 158 The Tempest 4.1
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 1176 - 1182Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Kott, Jan. The Bottom Translation: Marlowe and Shakespeare and the Carnival Tradition. Trans. Międzyrzecka, Daniela and Vallee, Lillian. Evanston: Northwestern UP, 1987.Google Scholar
Kujawińska Courtney, Krystyna. “Krystyna Skuszanka’s Shakespeare of Political Allusions and Metaphors in Communist Poland.” Shakespeare in the Worlds of Communism and Socialism. Ed. Makaryk, Irena R. and Price, Joseph. Toronto: U of Toronto P, 2006. 228–45.CrossRefGoogle Scholar
Niziołek, Grzegorz. “The Music of the Audience.” Trans. Borowski, Tadeusz. Polski Szekspir Współczesny. “Burza.” Reżyseria Krzysztof Warlikowski. Wrocław: Polskie Wydawnictwo Audiowizualne, Wydanie do DVD, 2008. 16–22.Google Scholar
Pawłowski, Roman. “Jak sztuka w kapitalizmie” [What Kind of Play in a Capitalist System]. Gazeta Wyborcza 287 (8 December 2007). e-teatr.pl. Accessed November 2011.Google Scholar
Sellar, Tom. “Copernican Discoveries” (interviews with Zbigniew Brzoza, Agnieszka Glińska, Grzegorz Jarzyna, Jarosław Kilian, and Krzysztof Warlikowski). Theater 33 (2003): 20–35.Google Scholar
Young, David. The Heart’s Forest: A Study of Shakespeare’s Pastoral Plays. New Haven: Yale UP, 1972.Google Scholar
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
Kujawińska Courtney, Krystyna. “Shakespeare in Poland.” Shakespeare around the Globe. Ed. Best, Michael. 2006. http://ise.uvic.ca/Library/Criticism/shakespearein/index.html.Google Scholar
Kujawińska Courtney, Krystyna, ed. Polska Bibliografia Szekspirowska, 1980–2000 [Polish Shakespeare Bibliography]. Wrocław: Zakład Narodowy im. Ossolińskich and Uniwersytet Łódzki, 2005.Google Scholar
Kujawińska Courtney, Krystyna, and Williams, Katarzyna Kwapisz. “‘The Polish Prince’: Studies in Cultural Appropriation of Shakespeare’s ‘Hamlet’ in Poland.” 2009. http://hamletworks.org.Google Scholar
Łubieniewska, Ewa, et al., eds. Szekspir wśród znaków kultury polskiej [Shakespeare among the Signs of Polish Culture]. Kraków: Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, 2012.Google Scholar
Mościcki, Tomasz. “Burzliwy sezon” [Stormy Season]. Odra 7/8 (2003). e-teatr.pl. Accessed December 2011.Google Scholar
Niziołek, Krzysztof. Warlikowski Extra Ecclesiam. Kraków: Wydawnictwo Homini SC, 2008.Google Scholar
Sakowska, Aleksandra. “No ‘Happy Wrecks’ – Pessimism and Suffering in Krzysztof Warlikowski’s Adaptation of The Tempest by William Shakespeare.” Shakespeare Bulletin 29 (2011): 327–38.CrossRefGoogle Scholar
Węgrzyniak, Rafał. “Gruba kreska Prospera” [Prospero’s Justice]. Odra 4 (2003). e-teatr.pl. Accessed December 2011.Google Scholar
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