Search & Browse

Translated into Latvian by Valija Brutāne. Matīss Gricmanis, dramaturg. Jēkabs Jančevskis, composer. Sets by Kristaps Kramiņš, costumes by Baiba Litiņa, choreography by Anna Abalikhina, lighting by Reinis Zalte, video by Viktoria Martjanova.

With Gints Grāvelis (Theseus, Duke of Athens), Marta Lovisa Jančevska (Hippolyta, Queen of the Amazons), Lauris Subatnieks (Egeus, Hermia’s father), Kārlis Arnolds Avots or Klāvs Kristaps Košins (Lysander), Niklāvs Kurpnieks (Demetrius), Madara Viļčuka (Hermia), Katrīna Griga (Helena), Arturs Krūzkops (Oberon), Ieva Segliņa (Titania), Ilze Ķuzule-Skrastiņa (Puck), Dainis Gaidelis, Meinards Liepiņš, and Kristīne Nevarauska (Fairies), Toms Veličko (Peter Quince), Kaspars Dumburs (Nick Bottom), Andris Bulis (Glitter), Mārtiņš Meiers (Flute), Imants Strads (Starveling), and Sithums Silva or Alike Biele (Indian boy).

Explores how contemporary Latvian productions of Midsummer Night's Dream emphasize the play's tragic elements, focusing on Elmārs Seņkovs's and Viesturs Kairišs's productions (both q.v.). English summary, online.

Translated by Jānis Elsbergs. Assitant directors, Toms Treinis and Marija Bērziņa. Stage design by Vladislav Ogay, lighting by Oskars Pauliņš, costume design by Anna Heinrihsone, choreography by Elīna Gediņa, video by Toms Zeļģis. Produced by Anna Vekmane and Ilona Matvejeva. Music by the State Academic Choir, directed by Maris Sirmais.

With Arturs Krūzkops (Puck), Gundars Grasbergs (Oberon), Madara Botmane (Titania), Maija Doveika (Titania), 
Raimonds Celms (Bottom), Matīss Budovskis (Bottom), Liene Sebre (Hermia), Sanita Paula (Hermia), Kārlis Reijers (Lysander), Jana Ļisova (Helena), Igors Šelegovskis (Demetrius), Normunds Laizāns (Flute and Aegeus),Jānis Skanis (Quince), Mārcis Maņjakovs (Starveling), Ivars Kļavinskis (Snout), Juris Hiršs (Snug).

Applies theory of "Adaptive Stage Matrix" to Turkish adaptations of Shakespeare. Explores how Emrah Eren's Bir Baba Hamlet (q.v.) draws on "the three major Turkish theatrical traditions of meddah, ortaoyunu, and Karagöz" to present a satirical and comedic adaptation of Hamlet. Shows how Murat Karahüseyinoğlu's Venedikli Tacir (q.v.), a Karagöz Merchant of Venice adaptation, draws on "traditional Ottoman" elements to reinterpret Shakespeare's play. English summary, online.

Adaptated by Karahüseyinoğlu. 

Turkish Karagöz-style puppet production of Merchant of Venice.

Karagöz master: Mehmet Ali Dönmez. Assistants: Nilay Çalamak, Cansu Tekoluk, Elifnaz Alpman.

Playwright: Sebastian Siedel. Translated by Yücel Erten. Işıl Zeynep, Assistant Director. Scenic design and costumes by Barış Dinçel, lighting design by Yakup Çartık, music by Can Şengün, choreography by Deniz Özmen. Faruk Üstün, composer.

Turkish-language comedic adaptation of Hamlet based on Sebastian Siedel's Hamlet for You (q.v.).

Two-person show. Original cast members: Şevket Çoruh and Murat Akkoyonlu. Later cast members include Günay Karacaoğlu and İlker Ayrık.

Considers online performances of Midsummer Night's Dream during the pandemic, including by CtrlAltRepeat, dir. Sid Phoenix; The Show Must Go Online (TSMGO), dir. Robert Myles (q.v.); Back Room Shakespeare Project (q.v.); and Robert Kerr's BBC television production (q.v.). Suggests that these performances of Midsummer Night's Dream "allowed audiences to escape from their experiences of the pandemic through fantastical frivolity."

Considers hybrid and virtual engagement with Shakespeare in performance, in the classroom, and at academic conferences. Analyzes Punchdrunk's Sleep No More (q.v.) production with both on-site and online viewers. Contends that the pandemic revealed ways to find meaningful pedagogical connections in online teaching. Argues for the value of hybrid conferencing for accessibility and environmental reasons.

Interview with Mark Quartley about acting with the Royal Shakespeare Company, including as Ariel in Tempest (q.v.), acting on stage for filmed productions, and acting with motion capture technologies.

Describes the creation of RSC Live's recording of Richard III (dir. Gregory Doran, q.v.), including logistical considerations such as funding and rights. Refutes the "myth of non-remediation" for recordings of stage productions and argues for the value of close reading, critiquing, and engaging with filmed stage productions.