Název: Macbeth, petty bourgeois
Zdrojový dokument: Theatralia. 2021, roč. 24, č. Special Issue, s. 209-221
Rozsah
209-221
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2021-S-13
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/143682
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)
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.
Reference
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[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.
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[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.
[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.