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dc.contributor.authorRayner, Francescaen
dc.date.accessioned2018-04-03T10:50:07Z
dc.date.available2018-04-03T10:50:07Z
dc.date.issued2017-10-07en
dc.identifier.issn2083-8530en
dc.identifier.urihttp://hdl.handle.net/11089/24343
dc.description.abstractThis article addresses the key role of performance space in mediating between cultural locations. It discusses two Portuguese performances of Shakespeare where audiences were invited to become part of the performance and the ways in which this dehierarchization of the performance space framed a cross-cultural encounter between a globalized text and a localized performance context. In Teatro Oficina’s 2012 King Lear, both audience and performers sat around a large table in a production which reflected upon questions of individual and collective responsibility in Shakespearean tragedy and in the wider political sphere. In the middle of this performance space hung a large cube onto which the translated text was projected, setting up a spatial tension between text and performance that also foregrounded the translocation of the Shakespearean text to a Portuguese performance context. In Tiago Rodrigues’ 2013 By Heart, ten members of the audience were invited onstage to learn Shakespeare’s Sonnet 30 “by heart and not by brain.”1 In doing so, Rodrigues emphasized the cultural embeddedness of Shakespearean texts in a wider European cultural context and operated a subtle shift from texts to performance as a privileged repository for the cultural memory of Shakespeare. The article explores how these spatial shifts signaled the possibility of enabling cross-cultural identifications with Shakespeare through performance.en
dc.publisherLodz University Pressen
dc.relation.ispartofseriesMulticultural Shakespeare;15en
dc.rightsThis work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.en
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0en
dc.subjectShakespeareen
dc.subjectKing Learen
dc.subjectSonnet 30en
dc.subjectperformance spaceen
dc.subjectaudience participationen
dc.titleDehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeareen
dc.page.number27-41en
dc.contributor.authorAffiliationCEHUM, Universidade do Minho, Portugal.en
dc.identifier.eissn2300-7605
dc.referencesBeauty and Consolation. Episode 1. VPRO NL. 5th May, 2011. https://www.youtube.com/watch?v=HPK3Mv6_Aps. Last accessed 22/7/2016.en
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dc.referencesGraça Moura, Vasco. Sonetos de Shakespeare. Lisboa: Bertrand, 2011.en
dc.referencesGrob, Thomas. “’One Cannot Act Hamlet, One Must be Hamlet’: The Acculturation of Hamlet in Russia.” Shakespeare and Space: Theatrical Explorations of the Spatial Paradigm. Eds. Ina Habermann and Michelle Witen. Basingstoke, Hants. and New York: Palgrave Macmillan, 2016. 191-228.en
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dc.referencesRodrigues, Tiago. By Heart e Outras Peças Curtas. Coimbra: Imprensa da Universidade de Coimbra, 2016.en
dc.referencesShakespeare’s Sonnets. Ed. Stanley Wells. Oxford and New York: Oxford University Press.en
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dc.referencesTusk, Donald. Letter by President Donald Tusk to the Members of the European Council on his proposal for a new settlement for the United Kingdom within the European Union. Council of the European Union. 20th February 2016. http://www.consilium.europa.eu/en/press/press-releases/2016/02/02-letter-tusk-proposal-new-settlement-uk/ Last accessed 20/11/2016.en
dc.referencesVillas Boas, Fernando. William Shakespeare: Rei Lear. Porto: TNSJ/Edições Húmus, 2016.en
dc.contributor.authorEmailfrayner@ilch.uminho.pten
dc.identifier.doi10.1515/mstap-2017-0003en


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