Shakespeare, Brecht, and the Intercultural Sign
Duke University Press, 24 wrz 2001 - 308
In Shakespeare, Brecht, and the Intercultural Sign renowned Brecht scholar Antony Tatlow uses drama to investigate cultural crossings and to show how intercultural readings or performances question the settled assumptions we bring to interpretations of familiar texts. Through a “textual anthropology” Tatlow examines the interplay between interpretations of Shakespeare and readings of Brecht, whose work he rereads in the light of theories of the social subject from Nietzsche to Derrida and in relation to East Asian culture, as well as practices within Chinese and Japanese theater that shape their versions of Shakespearean drama.
Reflecting on how, why, and to what effect knowledges and styles of performance pollinate across cultures, Tatlow demonstrates that the employment of one culture’s material in the context of another defamiliarizes the conventions of representation in an act that facilitates access to what previously had been culturally repressed. By reading the intercultural, Tatlow shows, we are able not only to historicize the effects of those repressions that create a social unconscious but also gain access to what might otherwise have remained invisible.
This remarkable study will interest students of cultural interaction and aesthetics, as well as readers interested in theater, Shakespeare, Brecht, China, and Japan.
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actor aesthetic Antipholus appear Artaud audience behavior Bertolt Brecht Brecht Brechtian Chinese opera Chinese theater comedy Comedy of Errors comic complex constructed contemporary context contradictions conventions Coriolanus critical culture defamiliarizing deﬁne developed di√erent di√erentiate di≈cult Don Giovanni drama e√ect embody emotions externalizing farce ﬁgures ﬁnally ﬁnd ﬁrst Foucault Gesammelte Werke gesture hence historical historicized identity ideological intercultural sign interpretation Japanese joke Kott kunju kyogen language laughter Lévi-Strauss London Macbeth means Menaechmi Menenius metaphor mimesis mimetic Mnouchkine Mnouchkine’s moral narrative nature o√ers opera performance perhaps philosophical realism Plautus plebeians plot Plutarch political position presuppositions production proxemic psychoanalytic psychological reading reality reﬂection relation relationship Renaissance representation repressed ritual Rome scious sense sexual Shake Shakespeare Shakespeare Our Contemporary Shakespeare’s play Shakespeare’s text signiﬁcant social character social unconscious speare’s speciﬁc structure style superﬁcial Tatlow theory tion traditional tragedy transformed uncon understand University Press Western theater