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"Streamlined readings of scenes from King Lear." With James Earl Jones (Lear), Linda Powell (Cordelia), Andrea Patterson (Regan), Juliana Francis Kelly (Goneril); Obi Abili (the Fool), and Peter Francis James (Albany).
Explores how Shakespeare presents travel in Lear before turning to three adaptations that invite audiences to travel with Lear: Ben Benison’s Jack Lear (dir. Barrie Rutter); Kim Myung-gon’s King Uru (Uruwang); and Bryan Doerrie's King Lear Project (Theatre of War); all q.v.
Discusses P. P. Carp's 1864 translation of Shakespeare's works into Romanian (the first not to use a French or German intermediary text). Showcase Carp's literary and linguistic skill and explores how Carp's translation reflects the changing Romanian language of his time. English summary, 889.
Includes one essay on Shakespeare.
Suggests that as a "conformed Catholic," Shakespeare's plays respond to Sir Philip Sidney's Puritan-adjacent views. Considers place of theatre in Reformation England. English summary, 54.
Describes Carmelo Bene's "scenic writing and the actorial machine" with a focus on Bene's twentieth-century adaptationsof Macbeth and Hamlet. Concludes with poem by author, "shakespeare didn't work for me" (52-53). Suggests that Bene's ideas and works (including "happenings") disrupt the passive audience dynamic and so can be used as a way to decolonize Shakespaere in South Africa and beyond. English summary, 39.
Places Roberts' and Heise-von der Lippe's articles (q.v. both) on bird imagery in Macbeth in discussion.
Suggests that Joel Coen's Macbeth (q.v.) elaborates on avian imagery in Akira Kurosawa's Throne of Blood (1957), emphasizing the play's non-human and supernatural elements. Reads "unruly weather" and birds as representative or foreshadowing characters' emotions. English summary, 19.
Describes Joburg Theatre Youth Development Programme's rehearsal and performance of Macbeth (2021), emphasizing how it "explored soundscape through the interplay of spoken word and non-semantic avian and animal calls" and provided a multilingual performance featuring isiZulu, isiXhosa, and Sesotho elements. Includes appendix of "Soundscape material." English summary, 4.
Considers place of Shakespeare in undergraduate composition and literature courses and "suggests that writing in response to Shakespeare presents a singular opportunity for students to explore multiple authorial—and authoritative—registers, from bounded and personal to global and abstract." English summary, 209.