Název: Mission (im)possible? Cross-gendered Shakespeare on Czech stages after 1989
Zdrojový dokument: Theatralia. 2021, roč. 24, č. Special Issue, s. 171-185
Rozsah
171-185
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ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2021-S-11
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/143680
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
This essay examines the theatrical practice of cross-gender casting with a focus on three selected productions of Romeo and Juliet staged by the Petr Bezruč Theatre in Ostrava (2011, director Anna Petrželková), the NaHraně Theatre in Prague (2012, director Jan Frič), and the Činoherní Studio Ústí nad Labem (2012, director Filip Nuckolls).
eng
Reference
[1] BUTLER, Judith. 1993. Bodies that Matter: On the Discursive Limits of 'Sex'. London: Routledge, 1993.
[2] ČEPEK, Vladimír and Filip NUCKOLLS. 2013. 'Romeo padne, taktéž Julie. Ostatní to zabije' [Romeo will Fall Just Like Juliet. Others will be Killed]. Interview by Radek Strnad. Ústecký deník (29. 08. 2013). [accessed on 1.04.2020]. Available online at https://ustecky.denik.cz/kultura_region/romeo-padne-taktez-julie-i-dalsi-to-zabije-20130829.html.
[3] DRÁBEK, Pavel. 2019. Shakespeare's Myriad-Minded Stage: Propositional Spaces of Cultural Hybridity. Cahiers Élisabéthains 99 (2019): 1: 45–55. [accessed on 24.08.2020]. Available online at https://journals.sagepub.com/doi/full/10.1177/0184767819835551#. | DOI 10.1177/0184767819835551
[4] ERIKSEN, Roy. 2015. Shakespeare as 'Chief Architect and Plotter': Romeo and Juliet and Civic Space. In Silvia Bigliazzi and Lisanna Calvi (eds.). Shakespeare, Romeo and Juliet, and Civic Life: The Boundaries of Civic Space. Oxford: Routledge, 2016: 82–99.
[5] FERBER, Marianne A. and Phyllis Hutton RAABE. 2003. Women in the Czech Republic: Feminism Czech Style. International Journal of Politics, Culture and Society 16 (2003): 3: 407–430. [accessed on 26.08.2020]. Available online at https://link.springer.com/article/10.1023/A:1022308512580.
[6] HAWKES, Terence. 2005. Shakespeare and the Reason: A Study of the Tragedies and the Problem Plays. New York and Abingdon: Routledge, 2005.
[7] KEMP, Theresa D. 2010. Women in the Age of Shakespeare. Santa Barbara, CA: Greenwood/ABCCLIO LLC, 2010.
[8] KLÁR, Petr KlariN [sic]. 2013. Muži sobě aneb Romeo a Julie [Men to Themselves, or Romeo and Juliet]. Divadelní noviny 22 (2013): 2: 6.
[9] KLETT, Elizabeth. 2009. Cross-Gender Shakespeare and English National Identity: Wearing the Codpiece. New York: Palgrave Macmillan, 2009.
[10] KONÍČKOVÁ, Olga. 2012. Romeo a Julie … a co jako? aneb To světu svítá a stmívá se v nás [Romeo and Juliet and What?, or It Dawns for the World and It Grows Dark for Us]. Kultura 21 (9. 10. 2012). [accessed on 10.04.2020]. Available online at http://www.kultura21.cz/divadlo/5252-romeo-a-julie-a-co-jako.
[11] MACHALICKÁ, Jana. 2011. Král Lear v Národním: šifra Jana Nebeského [King Lear, or the Jan Nebeský Code] Lidovky (17. 11. 2011). [accessed on 22.09.2020]. Available online at https://www.lidovky.cz/kultura/kral-lear-v-narodnim-sifra-jana-nebeskeho.A111115_103052_ln_kultura_btt.
[12] MIŠTEROVÁ, Ivona. 2013. Angloamerické drama na plzeňských scénách. [Anglo-American Drama on Pilsen Stages]. Plzeň: University of West Bohemia, 2013.
[13] ORGEL, Stephen. 1996. Impersonations: The Performance of Gender in Shakespeare's England. Cambridge: Cambridge University Press, 1996.
[14] RESLOVÁ, Marie. 2012. Drama Richard III. jako černý kabaret s dobrým koncem [The Drama Richard III like a Cabaret with a Happy Ending]. Lidovky (4. 11. 2012). [accessed on 20.09.2020]. Available online at https://ceskapozice.lidovky.cz/recenze/drama-richard-iii-jako-cerny-kabaret-s-dobrym-koncem.A121101_123724_pozice_82177.
[15] SENELICK, Laurence. 2000. The Changing Room: Sex, Drag and Theatre. London: Routledge, 2000.
[16] SHAKESPEARE, William. 2000. Romeo and Juliet. Ed. by Jill L. Levenson. Oxford: Oxford University Press, 2000.
[17] SHAPIRO, Michael. 1996. Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages. Michigan: University of Michigan, 1996.
[2] ČEPEK, Vladimír and Filip NUCKOLLS. 2013. 'Romeo padne, taktéž Julie. Ostatní to zabije' [Romeo will Fall Just Like Juliet. Others will be Killed]. Interview by Radek Strnad. Ústecký deník (29. 08. 2013). [accessed on 1.04.2020]. Available online at https://ustecky.denik.cz/kultura_region/romeo-padne-taktez-julie-i-dalsi-to-zabije-20130829.html.
[3] DRÁBEK, Pavel. 2019. Shakespeare's Myriad-Minded Stage: Propositional Spaces of Cultural Hybridity. Cahiers Élisabéthains 99 (2019): 1: 45–55. [accessed on 24.08.2020]. Available online at https://journals.sagepub.com/doi/full/10.1177/0184767819835551#. | DOI 10.1177/0184767819835551
[4] ERIKSEN, Roy. 2015. Shakespeare as 'Chief Architect and Plotter': Romeo and Juliet and Civic Space. In Silvia Bigliazzi and Lisanna Calvi (eds.). Shakespeare, Romeo and Juliet, and Civic Life: The Boundaries of Civic Space. Oxford: Routledge, 2016: 82–99.
[5] FERBER, Marianne A. and Phyllis Hutton RAABE. 2003. Women in the Czech Republic: Feminism Czech Style. International Journal of Politics, Culture and Society 16 (2003): 3: 407–430. [accessed on 26.08.2020]. Available online at https://link.springer.com/article/10.1023/A:1022308512580.
[6] HAWKES, Terence. 2005. Shakespeare and the Reason: A Study of the Tragedies and the Problem Plays. New York and Abingdon: Routledge, 2005.
[7] KEMP, Theresa D. 2010. Women in the Age of Shakespeare. Santa Barbara, CA: Greenwood/ABCCLIO LLC, 2010.
[8] KLÁR, Petr KlariN [sic]. 2013. Muži sobě aneb Romeo a Julie [Men to Themselves, or Romeo and Juliet]. Divadelní noviny 22 (2013): 2: 6.
[9] KLETT, Elizabeth. 2009. Cross-Gender Shakespeare and English National Identity: Wearing the Codpiece. New York: Palgrave Macmillan, 2009.
[10] KONÍČKOVÁ, Olga. 2012. Romeo a Julie … a co jako? aneb To světu svítá a stmívá se v nás [Romeo and Juliet and What?, or It Dawns for the World and It Grows Dark for Us]. Kultura 21 (9. 10. 2012). [accessed on 10.04.2020]. Available online at http://www.kultura21.cz/divadlo/5252-romeo-a-julie-a-co-jako.
[11] MACHALICKÁ, Jana. 2011. Král Lear v Národním: šifra Jana Nebeského [King Lear, or the Jan Nebeský Code] Lidovky (17. 11. 2011). [accessed on 22.09.2020]. Available online at https://www.lidovky.cz/kultura/kral-lear-v-narodnim-sifra-jana-nebeskeho.A111115_103052_ln_kultura_btt.
[12] MIŠTEROVÁ, Ivona. 2013. Angloamerické drama na plzeňských scénách. [Anglo-American Drama on Pilsen Stages]. Plzeň: University of West Bohemia, 2013.
[13] ORGEL, Stephen. 1996. Impersonations: The Performance of Gender in Shakespeare's England. Cambridge: Cambridge University Press, 1996.
[14] RESLOVÁ, Marie. 2012. Drama Richard III. jako černý kabaret s dobrým koncem [The Drama Richard III like a Cabaret with a Happy Ending]. Lidovky (4. 11. 2012). [accessed on 20.09.2020]. Available online at https://ceskapozice.lidovky.cz/recenze/drama-richard-iii-jako-cerny-kabaret-s-dobrym-koncem.A121101_123724_pozice_82177.
[15] SENELICK, Laurence. 2000. The Changing Room: Sex, Drag and Theatre. London: Routledge, 2000.
[16] SHAKESPEARE, William. 2000. Romeo and Juliet. Ed. by Jill L. Levenson. Oxford: Oxford University Press, 2000.
[17] SHAPIRO, Michael. 1996. Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages. Michigan: University of Michigan, 1996.