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138,701 entries in:

Title:
"'Most fearful hard work': Gwen Ffrangcon-Davies, Marda Vanne and the 'Good Companions' in South Africa"
Author:
Wright, Laurence.
Type:
Book Chapter
Year:
2013
Annotation:

Describes the South African tour of actresses Gwen Ffrangcon-Davies and Marda Vanne along with the company the Good Companions during the "patriarchal vacuum created by [World War II]."

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Title:
"The Woman behind the Mask: Cuban Women and Shakespeare"
Author:
Woodford-Gormley, Donna.
Type:
Book Chapter
Year:
2013
Annotation:

Discusses Cuban female artists' adaptations of Shakespeare, including Raquel Carrió and Flora Lauten's production, Otra Tempestad (1997) and Alicia Alonso's ballet adaptation of Romeo and Juliet, Shakespeare y sus máscaras, o Romeo y Julieta (2003).

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Title:
"Sites of Death as Sites of Interaction in Donne and Shakespeare"
Author:
Bauer, Matthias; Zirker, Angelika.
Type:
Book Chapter
Year:
2013
Annotation:

Discusses the grave as a site of interaction in Shakespeare (especially Romeo and Juliet and Midsummer Night's Dream) and John Donne, arguing that "the eschatological dimension of this interaction is inextricably linked with a poetological one and in particular with a notion of dramatic self-revelation."

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Title:
"Revisionism or Fresh Vision? Silence, Speech, and the Female Director"
Author:
Kamaralli, Anna.
Type:
Book Chapter
Year:
2013
Annotation:

"Provides a critique of the distinctive pressures experienced by female directors and performers of Shakespeare working in today's theatre industry" through discussion of their approaches to satisfying "the competing needs of politics and comedy"--especially involving the silencing of women characters--in productions of Taming of the Shrew by Gale Edwards, Phyllida Lloyd, and Lynne Parker, as well as Marianne Elliott's Much Ado about Nothing (all q.v.).

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Title:
"Shakespeare's Magic Mirror: The Work of Raia Mouzenidou"
Author:
Georgopoulou, Xenia.
Type:
Book Chapter
Year:
2013
Annotation:

Discusses the Shakespeare productions of Greek stage director Raia Mouzenidou, including her stage adaptations of Romeo and Juliet (Speaking of Shakespeare: Call Me Juliet), Troilus and Cressida: First Shot, and Macbeth (When Mac Met Beth).

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Title:
"'Never conquered nor possessed': Shakespeare in Native Canada and Québec in the Late Twentieth and Early Twenty-First Centuries"
Author:
Sutherland, Julie.
Type:
Book Chapter
Year:
2013
Annotation:

"Investigates the performance theories that inform productions of post-colonial interpretations of original Shakespearean scripts" by First Nations and Québec writers in Canada.

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Title:
"On Shakespeare by Brazilian Women"
Author:
Rauen, Margarida Gandara.
Type:
Book Chapter
Year:
2013
Annotation:

Discusses the work of women "who have been active in Shakespearean scholarship, translation and performance in Brazil."

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Title:
"New Directions: The Jew of Malta and The Merchant of Venice: A Reconsideration of Influence"
Author:
McAdam, Ian.
Type:
Book Chapter
Year:
2013
Publication Information:
Logan, The Jew of Malta: A Critical Reader, 107–27.
Annotation:

Argues that The Jew of Malta and The Merchant of Venice share similar homoerotic subtexts and indirect criticisms of English mercantilism and Christian spiritual self-righteousness; ultimately suggests that Shakespeare took several cues from The Jew of Malta when writing Merchant of Venice.

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Title:
"This Tempest's Hers: Metropolitan Opera's The Enchanted Island and the Feminism of Bel Canto Shakespeare Adaptation"
Author:
Scott-Douglass, Amy.
Type:
Journal Article
Year:
2013
Annotation:

Examines how the Metropolitan Opera's 2011 production The Enchanted Island, devised by Jeremy Sams and conducted by William Christie (q.v), undermines Tempest's gender politics; pays special attention to how bel canto encourages feminist approaches. English summary.

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Title:
"Sarah Bernhardt's Ophelia"
Author:
Young, Alan R..
Type:
Journal Article
Year:
2013
Annotation:

Examines Sarah Bernhardt's subversive interpretations of Ophelia in her 1880 sculpture of Ophelia drowned and in her on-stage appearance as Ophelia in 1886. Argues that Bernhardt significantly contributed to an obsession with death and sexuality in the nineteenth century. English summary.

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