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Multicultural Shakespeare: Translation, Appropriation and Performance

Abstract

The aim of this article is to explore the potential of hauntological theories to explain and problematise selected aspects of authority and performance in the context of Shakespeare’s drama. Referring primarily to Derrida’s and Abraham’s concepts of the ghost and the phantom and their connection to Shakespeare’s Hamlet, the article discusses hauntological perspectives on performance, both deconstructing and reaffirming authority. The paper comments on the relation between text and performance (Brook, Lehmann), memory and repetition (Carlson), disappearance and perpetual present (Phelan), as well as archive and repertoire (Taylor) in order to highlight the contradictory yet productive ways of understanding performance. The final part of the article, focusing on the significance of the ghost figure, examines experimental appropriations of Shakespeare’s play in Walny Theatre’s Hamlet (2015) in the light of postdramatic aesthetics.

Keywords

authority, hauntology, Shakespeare, Hamlet, postdramatic performance, Walny Theatre

References

Abraham, Nicolas. “The Phantom of Hamlet or The Sixth Act Preceded by The Intermission of ‘Truth’” (1975). The Shell and the Kernel: Renewals of Psychoanalysis. Ed. Nicolas Abraham and Maria Torok. Trans. Nicholas T. Rand. Chicago, London: University of Chicago Press, 1994. 187-205.

Bohannan, Laura. 1961. “Shakespeare in the Bush.” Natural History Magazine. n. pag. Web. 10 February 2016 http://www.naturalhistorymag.com/picks-from-thepast/12476/shakespeare-in-the-bush.

Brook, Peter. The Empty Space. London: Penguin Books, 1990.

Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press, 2003.

Davis, Colin. “État Présent: Hauntology, Spectres and Phantoms.” French Studies. 59 (3) 2005: 373-379.

De Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California, 1984.

Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Trans. Peggy Kamuf. London: Routledge, 2006.

Fischlin, Daniel and Mark Fortier. “General Introduction.” Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. Ed. Daniel Fischlin and Mark Fortier. London: Routledge, 2000. 1-22.

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Jenkins, Henry. Textual Poachers: Television Fans and Participatory Cultures. Taylor & Francis e-Library, 2005.

Kaye, Nick. Art into Theatre: Performance Interviews and Documents. Amsterdam: Harwood Academic Publishers, 1996.

Lehmann, Hans-Thies. Postdramatic Theatre. London Routledge, 2006.

Levine, Lawrence W. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard University Press, 2002.

Lorek-Jezińka, Edyta. Hauntology and Intertextuality in Contemporary British Drama by Women Playwrights. Toruń: Nicolaus Copernicus University Press, 2013.

Phelan, Peggy. Unmarked: The Politics of Performance. London, NY: Routledge, 1993.

Royle, Nicholas. The Uncanny. Manchester, NY: Manchester University Press, 2003.

Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Hamlet (The Arden Shakespeare). Ed. Harold Jenkins. London, New York: Routledge, 1990. 165-419.

Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham and London: Duke University Press, 2003.

Walny Theatre. Hamlet. Live performance at Klamra Theatre Festival (23 Akademickie Spotkania Teatralne), Toruń, 2015.

Worthen, William B. Shakespeare and the Authority of Performance. Cambridge: Cambridge University Press, 1997.

First Page

21

Last Page

34

Language

eng

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