Shakespeare in Southern Africa - Volume 16, Issue 1, 2004
Volumes & issues
Volume 16, Issue 1, 2004
Author Brian PearceSource: Shakespeare in Southern Africa 16 (2004)More Less
Extracted from text ... iii Editorial The conference, Colonial Shakespeare, at Rhodes University in June 2003, made me aware of a major problem in the critical reception of Shakespeare in South Africa. This problem lies not in the notion that Shakespeare is inadequately studied at schools and universities, that Shakespeare is not performed and enjoyed by actors and audiences, or that Shakespeare is not a significant influence on South African literature and culture. All these aspects of the reception of Shakespeare in South Africa were addressed in various ways, in papers and debates, during the conference. At the Annual General Meeting of the ..
Author Jane TaylorSource: Shakespeare in Southern Africa 16, pp 1 –14 (2004)More Less
Extracted from text ... "Confession and Profession": Vouching for the Truth in Hamlet and Sherlock Holmes1 JANE TAYLOR It is 1887. A doctor recently returned to London from Afghanistan is looking for modest lodgings. He is introduced, via a mutual friend, to a rather singular stranger. Within moments, that stranger - not himself a medical man - begins musing aloud about the properties of haemoglobin, and proceeds, rather alarmingly, one might say almost histrionically, to take blood from himself by inserting a slender dagger, of the sort known as a bodkin, into his finger. He draws off a few drops into a pipette ..
Author Paige NewmarkSource: Shakespeare in Southern Africa 16, pp 15 –28 (2004)More Less
Extracted from text ... "She is Spherical, like a Globe": Mapping the Theatre, Mapping the Body PAIGE NEWMARK I was directing a scene from Antony and Cleopatra in Colorado a number of years ago, and I had a tremendously difficult time with a small but significant part of the Messenger. As you will recall he returns to Alexandria from Rome and has the unenviable task of telling Cleopatra that Antony is married. When he delivers the bad news she becomes furious and gives him the 'Spartan messenger' treatment by beating him up. The problem was that however much I berated or cajoled him, the ..
Author P.J.H. TitlestadSource: Shakespeare in Southern Africa 16, pp 29 –36 (2004)More Less
Extracted from text ... To Appropriate or Not to Appropriate P.J.H. TITLESTAD Ben Jonson wrote that "He was not of an age but for all time." Is the "Swan of Avon" culture bound or is he universal or is he legitimate prey of other cultures, and regions? It is a fair bet that when Shakespeare reached the British colonies it was as revered appendage to English culture, the chief adornment of English literature. Today, Shakespeare has to survive in an Englishspeaking world that is not English and perhaps in a wider world that does not know English. Is he universal? What problems of reception ..
Author Chris JefferySource: Shakespeare in Southern Africa 16, pp 37 –51 (2004)More Less
Extracted from text ... Is Shylock a Catholic? CHRIS JEFFERY There is one unforgettable figure in The Merchant of Venice. "It is a critical commonplace regarding this play that although he appears in only five scenes, Shylock dominates the action". As a dramatic character he eclipses Antonio, the merchant of Venice. He is complex enough to have engendered enduring uncertainty about what to make of him, and how to feel about him. Everyone on stage is against him, even his own daughter, yet for no good reason that an audience can see. If he is shown as angry and vengeful, he is also shown ..
Author David G. HaleSource: Shakespeare in Southern Africa 16, pp 53 –57 (2004)More Less
Extracted from text ... "Her Indian boy": Postcolonial Criticism and Performance on Film and Television DAVID G. HALE "Oberon is passing fell and wrath, " Puck tells a fairy, because Titania "as her attendant hath / A lovely boy stolen from an Indian king" (2.1.20-22). The contest for the sweet changeling forms the basis for one of the plots of A Midsummer Night's Dream, while Oberon, Titania, and Puck involve themselves, intentionally or not, in the play's other three plots. Moreover, several recent post-colonial critics - Ania Loomba and Shankar Raman (239-79) - have emphasized the Titania plot's links to India and its ..
Author Solomon O. IyasereSource: Shakespeare in Southern Africa 16, pp 59 –63 (2004)More Less
Extracted from text ... Teaching Shakespeare's Othello to a Group of Multi- Racial Students SOLOMON O. IYASERE Iago: Zounds, Sir y' are robbed! For shame put on your gown! Your heart is burst, you have lost half your soul. Even Now, now, very now, an old black ram is tupping your white ewe. Arise, arise! Awake the snorting citizens with the bell... Arise, I say! (1.1.83-89) Brabantio: To fall in love with what she feared to look on! It is a judgment maimed and most imperfect That will confess perfection so could err Against all rules of nature... (1.3.98-101) Othello: "Haply for I am ..
Untimely Spectres : review article
Marxist Shakespeare, Jean E. Howard and Scot Cutler Shershow. eds.Author Pier Paolo FrassinelliSource: Shakespeare in Southern Africa 16, pp 65 –68 (2004)More Less
Extracted from text ... Review Article UNTIMELY SPECTRES Jean E. Howard and Scot Cutler Shershow. Eds. Marxist Shakespeares. London and New York: Routledge, 2001. 304 pp. Reviewed by PIER PAOLO FRASSINELLI Marxist criticism of Shakespeare has a long history - going back as far as to Marx's well-known appreciation for the Bard - and one with special relevance to the (relatively) recent developments in Shakespeare studies. It could in fact be argued that the explosion of 'historicist', 'materialist' and 'political' approaches to Shakespeare that marked the 1980s represented, among other things, an attempt to salvage some of the fundamental 'themes' of Marxist criticism for ..
Source: Shakespeare in Southern Africa 16, pp 69 –70 (2004)More Less
Extracted from text ... Theatre Reviews TWELFTH NIGHT : The Port Elizabeth Shakespearean Festival. Mannville Open Air Theatre, 18 February 2004. LAURENCE WRIGHT Twelfth Night is one of the theatrical world's favourite Shakespeares. It is an ensemble piece with a plethora of rich, telling roles. Only eccentrics fail to respond. One of the most famous of these was Samuel Pepys, who saw the play at least three times and called it 'one of the weakest plays I ever saw on the stage'. He was wrong, and the Shakespeare Festival production at Mannville proves it once again. This year Mannville sported one of those balmy ..
Macbeth : Directed by Geoffrey Hyland, Maynardville Open Air Theatre, January to February 2004 : theatre reviewAuthor Leslie HowlettSource: Shakespeare in Southern Africa 16, pp 71 –72 (2004)More Less
Extracted from text ... MACBETH : Directed by Geoffrey Hyland, Maynardville Open Air Theatre, 12 January to 21 February 2004. LESLIE HOWLETT Methinks we should all take a quiet moment to pause and give thanks to whatever universal power we believe in for the ongoing commitment of Artscape for continuing financially to prop up and stage the annual Shakespeare production at Maynardville, Wynberg, Cape Town. Although there exists the Maynardville Open Air Theatre Trust, whose formation was primarily to ensure that the productions would continue in perpetuity, it is not a monetary Trust and has no funds. Neither has it been particularly successful ..
The Marowitz Hamlet : Directed by Floyed de Vaal for the University of Stellenbosch Drama Department, July 2004 : theatre reviewSource: Shakespeare in Southern Africa 16, pp 73 –74 (2004)More Less
Extracted from text ... THE MAROWITZ HAMLET : Directed by Floyed de Vaal for the University of Stellenbosch Drama Department. National Arts Festival, Grahamstown, July 2004. LAURENCE WRIGHT This was a brave and, on the whole, successful production of a difficult and highly cerebral text. The challenge of the play is to make it speak to a broad audience. Marowitz's experiments with Shakespeare in the 60s were conducted originally in small London theatres before some of the most sophisticated, literate audiences one could hope to find. Not only could he take deep familiarity with Shakespeare's play for granted, he could also assume some degree ..
Bollywood Twelfth Night : Steven Beresford's Production. Albery Theatre, London, September 2004 : theatre reviewSource: Shakespeare in Southern Africa 16, pp 74 –75 (2004)More Less
Extracted from text ... BOLLYWOOD TWELFTH NIGHT : Steven Beresford's Production. Albery Theatre, London, September 2004. LAURENCE WRIGHT A Bollywood Shakespeare? Why not? Steven Beresford's directorial debut in West End theatre was pleasant rather than stunning, and one came away with a sense of the possibilities he had envisioned, more than those he had realized. The show opens with a tropical monsoon, sponsor of comedy's shipwreck. The setting is present-day India, a run-down street in a large city. The set used an offset proscenium frame angled back from that of the theatre itself, providing a visually disorientating perspective that kept the eye engaged. Nicely-detailed ..
Author Tony VossSource: Shakespeare in Southern Africa 16, pp 75 –77 (2004)More Less
Extracted from text ... STORM WARNING : The Tempest. Directed by Malcolm Purkey, The Wits Theatre. Design by Gerhard Marx and lighting design by Melanie Dobbs, 13-25 September 2004. TONY VOSS There is no stage curtain, so the island and the magician's cell, his books and instruments, are visible as the audience enters. In the crepuscule of the house-lights dimming, the stage fills, the weather breaks, and in the darkness set and machinery come to life. What looked like a huge oldfashioned semi-cylindrical blotter turns into a metronomically rolling deck on which a deckhand clings perilously to a mast: the wound wind-machine seems to ..
Author Natasha DistillerSource: Shakespeare in Southern Africa 16, pp 79 –81 (2004)More Less
Extracted from text ... Book Reviews STANLEY WELLS. Looking for Sex in Shakespeare. Cambridge: Cambridge University Press, 2004. 111 pp. Reviewed by NATASHA DISTILLER This slim volume is the record of three public lectures given by Wells during his tenure of the International Shakespeare Globe Fellowship. As such, it offers three related overviews of some issues in Shakespeare scholarship. Wells does provide his own take on some of the material, and it is in these moments that the book will be of most interest to Shakespeare scholars. Otherwise it functions as a useful introduction, its conversational style making it accessible to undergraduates, and entertaining ..
Shakespeare and Social Dialogue. Dramatic Language and Elizabethan Letters, Lynne Magnusson : book reviewAuthor Rajendra ChettySource: Shakespeare in Southern Africa 16, pp 81 –84 (2004)More Less
Extracted from text ... LYNNE MAGNUSSON. Shakespeare and Social Dialogue. Dramatic Language and Elizabethan Letters. Cambridge: Cambridge University Press, 1999. 221 pp. Reviewed by RAJENDRA CHETTY Shakespeare and Social Dialogue creates a new way of reading both literary texts and historical documents which bridges the gap between the methods of new historicism and linguistic criticism. The text opens up a refreshing approach to Shakespeare's language and the rhetoric of Elizabethan letters. Moving beyond claims about the language of individual Shakespearean 82 SHAKESPEARE IN SOUTHERN AFRICA characters, Magnusson develops a rhetoric of social exchange to analyze dialogue, conversation, sonnets and particularly letters of the period, ..
Author Rebecca FensomeSource: Shakespeare in Southern Africa 16, pp 84 –86 (2004)More Less
Extracted from text ... PAULINE KIERNAN. Shakespeare's Theory of Drama. Cambridge: Cambridge University Press, 1996. 218 pp. Reviewed by REBECCA FENSOME Kiernan's central thesis is that Shakespeare's plays and poetry embody a coherent, consistent theory of drama. It is proposed that this theory rejects mimetic art, consciously drawing attention to its own artificiality. Shakespeare's presentation on the stage of the living body of an actor (and in poetry, references to the breathing, moving body) enable his art to "incorporate temporality and change" (10), to live itself, in contrast to mimetic art which is trapped in stasis after having tried minutely to capture the ..
Author Jayne GloverSource: Shakespeare in Southern Africa 16, pp 86 –89 (2004)More Less
Extracted from text ... belief" (117). J.R. MULRAYNE and MARGARET SHEWRING Eds. Shakespeare's Globe Revisited. Cambridge: Cambridge University Press, 1997. 192 pp. Reviewed by JAYNE GLOVER As the preface makes clear, Shakespeare's Globe Revisited is designed as a tribute to the rebuilding, in the 1990s, of the Globe theatre on London's Bankside. It is described by the editors, Ronnie Mulryne and Margaret Shewring, as "one of the most imaginative projects of recent decades" (11). In particular they acknowledge the vision of Sam Wanamaker and architect Theo Crosby, who worked together to see their dream of a working Globe come to fruition, but sadly ..
Author Dennis SchaufferSource: Shakespeare in Southern Africa 16, pp 89 –91 (2004)More Less
Extracted from text ... ALAN C. DESSEN. Recovering Shakespeare's Theatrical Vocabulary. Cambridge: Cambridge University Press, 1999 283 pp. Reviewed by DENNIS SCHAUFFER In this meticulous and well-researched study Dessen proceeds from John Shearman's contention that "wherever possible a work of art should be interpreted by throwing it back into the nest of ideas in which it was born" (1). In pursuit of this objective, and with specific reference to Shakespeare's plays, he articulates three questions that the rest of the book then explores. These questions that he recalls (with interesting variation to the wording) towards the middle of the work and at the ..
'Counterfeiting' Shakespeare; Evidence, Authorship, and John Ford's Funerall Elegye, Brian Vickers : book reviewAuthor Catharine BirkinshawSource: Shakespeare in Southern Africa 16, pp 92 –94 (2004)More Less
Extracted from text ... 92 SHAKESPEARE IN SOUTHERN AFRICA BRIAN VICKERS. ' Counterfeiting' Shakespeare; Evidence, Authorship, and John Ford's Funerall Elegye. Cambridge University Press, 2002. 568 pp. Reviewed by CATHARINE BIRKINSHAW 'Counterfeiting' Shakespeare is Brian Vickers's magisterial summing up of the debates over two dubious Shakespearean attributions. The first is the notorious "Shall I die?", Gary Taylor's discovery, that he and Stanley Wells included in the Oxford Complete Works (1986), and that re-appeared eleven years later in the Norton Shakespeare, which had bought up the Oxford text. The second, A Funerall Elegye to the late Vertuous Maister William Peeter of Whipton Neere Excester, discovered ..
Author Ron HallSource: Shakespeare in Southern Africa 16, pp 94 –96 (2004)More Less
Extracted from text ... LUKAS ERNE. Shakespeare as Literary Dramatist. Cambridge: Cambridge University Press, 2003. 287 pp. Reviewed by RON HALL In this persuasive book - likely to upset several critics, editors and textual scholars - Lukas Erne of the University of Geneva challenges a number of twentieth-century views on Shakespeare's relationship, as playwright, to the world of literary publishing and reception in his time. Shakespeare, Erne argues, far from being merely a stage-text supplier indifferent to the lasting value of his work, was (not unlike like Ben Jonson, after all) a consciously literary author. To a degree not yet fully realised, "Shakespeare ..