Title: Macbeth, petty bourgeois
Source document: Theatralia. 2021, vol. 24, iss. Special Issue, pp. 209-221
Extent
209-221
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2021-S-13
Stable URL (handle): https://hdl.handle.net/11222.digilib/143682
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
Thirty years after the fall of the Iron Curtain in 1989, Macbeth appears to be paradigmatic for the post-Communist Slovak Shakespeare. Several productions have made the play a playground to explore the world in new terms (gender issues, grotesque, social identity). The focus of this paper is on a 1999 production in Nitra which fashioned Macbeth as an Ubuesque petty bourgeois.
References
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[2] BŽOCHOVÁ-WILD, Jana. 2003. Začarovaný ostrov? Shakespearova Búrka inak [The Enchanted Island? Shakespeare's The Tempest Otherwise]. Bratislava: Divadelný ústav, 2003.
[3] DRÁBEK, Pavel. 2014. From the General of the Scottish Army to a Fattish Beer-Drinker: A Short History of Czech Translations of Macbeth. In Jana Bžochová-Wild (ed.). 'In Double Trust'. Shakespeare in Central Europe. Bratislava: Vysoká škola múzických umení, Divadelná fakulta, 2014: 52–72.
[4] FILINOVÁ, Martina. 2001. Čarodejnice v slovenských inscenáciách Macbetha [Witches in the Slovak Stagings of Macbeth]. Term paper. Bratislava: DF VŠMU, 2001.
[5] FILKOROVÁ, Ivana. 2006. Inscenovanie Macbetha na Slovensku do roku 1979 [Slovak Stagings of Macbeth up to 1979]. Bachelor thesis. Bratislava: DF VŠMU, 2006.
[6] HEINRICHS, Henriette. n.d. Henriette Heinrichs BUTOH – die Seele Tanzt. [accessed on 21.01.2021]. Available online at www.butoh-tanz.de.
[7] INNES, Christopher and Maria SHEVTSOVA. 2013. The Cambridge Introduction to Theatre Directing. Cambridge: Cambridge University Press, 2013.
[8] LUKEŠ, Milan. 2004. Mezi karnevalem a snem. Shakespearovské souvislosti. [Between Carnival and Dream. Shakespearean Connections]. Praha: Divadelní ústav, 2004.
[9] MACBETH. 2013. Theatre bill. Bratislava: DF VŠMU. Director Tomáš Procházka.
[10] MCCARTHY, Mary. 1962. General Macbeth. Harper's (June 1962). Reprint in SHAPIRO, James (ed.). 2014. Shakespeare in America: An Anthology from the Revolution to Now. The Library of America, 2014: 530–541. [accessed on 21.01.2021]. Available online at https://loa-shared.s3.amazonaws.com/static/pdf/McCarthy_General_Shakespeare.pdf.
[11] SHURBANOV, Alexander and Boika SOKOLOVA. 2001. Painting Shakespeare Red. An East-European Appropriation. Newark: University of Delaware Press; London: Associated University Presses, 2001.
[12] ŠIMIĆ, Lena. 1999. Macbeth Spell. Master thesis. Bratislava: DF VŠMU, 1999.
[13] WILD, Jana. 2017. 'The Art of Performance.' Hamlet in Rusyn Language. In Krystyna Kujawińska Courtney and Grzegorz Zienkiewicz (eds.). Shakespeare: His Infinite Variety. Łódź: Wydawnictwo Uniwersytetu Łódzkieho, 2017: 153–158.
[14] WILD, Jana. 2001. Jednoducho Hamlet [Simply Hamlet]. Divadlo v medzičase 6 (2001): 1: 10.