Suchergebnisse

Abstract ; The STC Macbeth's setting and predominantly multiethnic cast brought to mind Orson Welles's landmark 1936 Macbeth which was set in Haiti and featured an all-black cast. In both cases, the ethnicity and race of the cast matched that of the characters and cultures in the adaptation's respective universe. Tommy's production engaged in two models of nontraditional casting, namely conceptual casting, a model "in which actors of color are [self-consciously] cast in roles to enhance the play's social resonance," and cross-cultural casting, an approach that translates the universe of the play to a different culture and location. In some instances, multicultural theater, whether made locally or imported as touring theater, can receive mixed reception due to audience's investment in some form of cultural authenticity. Iqbal Khan's Much Ado About Nothing (RSC, Stratford-upon-Avon, August, 2012), for example, was set in contemporary Delhi and performed by a cast of second-generation Indian British actors. The production appropriated Bollywood-inspired music.

How do Shakespearean plays sustain clashing values within them, or imposed on them? Is Shakespeare anti-Semitic? Can Shakespeare be a feminist? How is value subject to context, to market, and demand? A wide range of moral, political, and aesthetic values���profitable or heartening or threatening from case to case���have been associated with Shakespeare, and those values have changed over time. And conflicting values may coincide at different levels of discussion of a given play, at once driving diversity in entertainment industries and sustaining traditional aesthetic principles, or in some other concatenation. This volume���s special section of essays on ���Shakespeare and Value��� explores these questions through general enquiry and case studies of complex moral designs that resist easy profiling in the plays. Instead of following formulae or jumping to conclusions, the contributors urge us not to flatten out the contradictory sets of values in these designs, but to set these clashes at the heart of action and inquiry.

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Introduction -- Notes -- Part I: Fixing the Fetters of Race -- Chapter 1: Marking Barbarians, Muslims, Jews, Ethiopians, Africans, Moors, or Blacks -- "Civilization" and "barbarism" -- Marking religious difference: imagined monstrosity, ugliness, and sin -- Marking skin pigmentation by color -- The workings of the law and the making of race -- Notes -- Chapter 2: Pseudo-Scientific markings of difference -- "Scientific method" -- Pseudo-sciences and racial nationalisms -- Eighteenth century doubleness about imaginings of race -- Notes -- Part II: Recasting the Fetters of Race -- Chapter 3: Legislative, Governmental, and Judicial Markings of Diference -- Self-evident"truths": race and the law in the United States -- South African common law and Coetzee's fiction -- Legal constructions of race in pre-1939 and World War II Germany -- T.S. Eliot, Enid Bagnold, racial "purity," and eugenics -- Notes -- Chapter 4: Slavery and Race -- "Natural" slavery -- African slaves -- History of the British slave trade -- British slave-ownership -- Solomon Northup's Twelve Years a Slave and Toni Morrison's Beloved -- Notes -- Part III: Loosening the Fetters of Race -- Chapter 5: Race and Epistemologies of Othernes -- Signifying relationally: race and nation -- Signifying relationally: race and gender -- Double consciousness -- Race and hospitality -- Identities in exile -- Coda: locating the epistemology of otherness -- Notes -- Conclusion: Race in the world -- Word made flesh -- Ocular proof -- Locations of race -- Disowning race -- Notes -- Glossary -- Index.