Articles by Isabel Guerrero
Cahiers Élisabéthains, 2020
This article focuses on productions of William Shakespeare’s plays in languages other than Englis... more This article focuses on productions of William Shakespeare’s plays in languages other than English throughout the history of the Edinburgh International Festival. It aims to demonstrate that there has been an evolution towards global Shakespeare at the Edinburgh International Festival, and that Shakespeare stagings have been both an active agent and a product of the interconnectedness of theatre cultures in international festivals. The article considers three categories that illustrate the evolution of Shakespeare festival productions: Shakespeare without his language, heteroglossic Shakespeare, and new-brand Shakespeare. These categories are used to evaluate audience reception and assess shifts in Shakespeare studies regarding global Shakespeare.
The Grove. Working Papers on English Studies, 2017
The Everybody's Shakespeare festival (1994), the Complete Works Festival (2006-2007) and the Glob... more The Everybody's Shakespeare festival (1994), the Complete Works Festival (2006-2007) and the Globe to Globe (2012) are part of the tradition of celebrating Shakespeare on occasions unconnected to the author, as was also the case of the Shakespeare's Jubilee back in 1769. More significantly, the three festivals also have in common the inclusion of Shakespearean productions in languages other than English, engaging with the academic debate on global Shakespeare. By looking at the characteristics of these festivals and at the academic output they generated, the purpose of this article is to trace the evolution of Shakespeare festivals in England to convey an image of global Shakespeare.
Cartaphilus, revista de investigación y crítica estética, 2017
Cada año, la presencia de las obras de Shakespeare cobra especial relevancia en festivales de tea... more Cada año, la presencia de las obras de Shakespeare cobra especial relevancia en festivales de teatro internacionales como el “Festival de Otoño a Primavera”, celebrado anualmente en Madrid. En su edición de 2016/2017, el festival acogió tres representaciones relacionadas con el dramaturgo inglés: Much Ado About Nothing, del artista-performer David Espinosa; Shake, dirigida por Jan Jemmett, y Hamlet, de Oskaras Koršunovas. Estas producciones ofrecen visiones de la obra shakesperiana muy distantes entre sí: Much Ado About Nothing presenta una instalación donde una serie de objetos representan las 37 obras de Shakespeare; Shake es una adaptación de Noche de Reyes en francés; y en Hamlet el texto shakesperiano sirve de inspiración para convocar el universo creativo del director. Además de su relación con Shakespeare –autor que ha colonizado el circuito de los festivales internacionales en el que se inscribe el “Festival de Otoño a Primavera”, y en el que las tres producciones han realizado buena parte de su gira internacional–, las tres producciones se valen de una serie de estrategias para adecuarse al “espectador global” (Kennedy, 2009) de los festivales que visitan. Partiendo del interés en las representaciones de Shakespeare en el “Festival de Otoño a Primavera” 2016/2017, este artículo analiza la influencia del contexto de los festivales internacionales en la escenificación de las obras de William Shakespeare. Por último, el artículo presta atención a la problemática que el particular formato temporal del festival (como su nombre indica, tiene lugar de otoño a primavera) plantea en la recepción de las obras.
Acotaciones. Investigación y Creación Teatral , 2018
In the 20th century, dozens of Shakespeare festivals flourished across the United States and Cana... more In the 20th century, dozens of Shakespeare festivals flourished across the United States and Canada, giving rise to a phenomenon that now accounts for hundreds of festivals in the two countries. The Oregon Festival, the Stratford Ontario Festival and the Shakespeare in the Park (New York) can be considered the pioneers of this movement , influencing many other festivals. These festivals have generated theatrical events typified by their use of space, their outreach, target audiences and their approach to Shakespeare in performance. This article discusses Shakespeare festivals in North America using the cases of the Oregon, Stratford and Shakespeare in the Park festivals to elucidate how these and other contemporary festivals have generated their own formulae to stage Shakespeare's works. Resumen: Durante el siglo XX surge en Estados Unidos y Canadá un fenómeno teatral que pervive en nuestros días: los festivales de Shakes-peare, que ponen en escena cada verano las obras del dramaturgo in-glés. Los festivales de Oregón, Stratford Ontario y Shakespeare in the Park (Nueva York) fueron los pioneros de un movimiento conformado
Shakespeare is one of the most often performed playwrights at the Festival de Teatro Clásico de A... more Shakespeare is one of the most often performed playwrights at the Festival de Teatro Clásico de Almagro [The Almagro Festival of Classical Theater], an event initially created to celebrate Golden Age drama in which, nowadays, Shakespearean productions often outnumber those by individual national authors. Throughout the history of the festival, several Shakespearean productions have been staged in the Corral de Comedias, an original seventeenth-century venue that reactivates the use of space encoded in the playtext due to its similarities with Renaissance playhouses. This article has a double purpose: first, to examine the abundance of Shakespeare in Almagro as a phenomenon that finds its explanation in factors ranging from Shakespeare's popularity to the role of modern translation and, second, to focus on how Shakespearean productions at the Corral de Comedias have negotiated new meanings of Shakespeare in performance, generating an interplay between Renaissance and Golden Age venues in contemporary performance.
Resumen
Este estudio articula el concepto de Ibsen pop mediante el análisis de seis puestas en e... more Resumen
Este estudio articula el concepto de Ibsen pop mediante el análisis de seis puestas en escena contemporáneas de la obra de Henrik Ibsen. Dichas propuestas comparten el uso de un nuevo realismo –que reinventa las obras para el espectador actual–, la convergencia de diversas estéticas teatrales y las referencias a elementos de la cultura pop actual. Las puestas en escena referidas son: Nora (T. Ostermeier, 2002), Hedda Gabler (T. Ostermeier, 2007), El pato salvaje (S. Stone, 2011), Un enemigo del pueblo (T. Ostermeier, 2012), Casa de muñecas (X. Flores, 2013), y Peer Gynt (I. Brook, 2014).
Abstract
This study articulates the concept Ibsen pop through the analysis of six contemporary productions of Henrik Ibsen’s plays. The productions have in common their new conception of realism (closer to twentieth-first-century audiences), the blend of different theatrical styles and the constant references to pop culture. The productions analysed are: Nora (T. Ostermeier, 2002), Hedda Gabler (T. Ostermeier, 2007), The Wild Duck (Simon Stone, 2011), An Enemy of the People (T. Ostermeier, 2012), A Doll’s House (X. Flores, 2013), and Peer Gynt (I. Brook, 2014).
Shakespeare en Devenir, 2015
Max Reinhardt, together with Adolphe Appia and Edward Gordon Craig, contributed to the scenograph... more Max Reinhardt, together with Adolphe Appia and Edward Gordon Craig, contributed to the scenographic revolution that changed thetheatre at the beginning of the 20th century. Although he directed all kinds of genres and formats, there is a common characteristic in his productions that defines his style : they were all visually attractive shows. Although he staged different Shakespearean titles in his career (i.e. The Merchant of Venice in 1905, Macbeth in 1916), Reinhardt´s life‑long obsession was A Midsummer Night’s Dream. He directed more than thirty productions of the play from 1905 until 1939, including the 1935 film version. The purpose of this paper is to briefly analyse Reinhardt´s mythical productions of A Midsummer Night’s Dream, and show how they set the starting point of early 20th century productions. This analysis focuses, above all, on the 1935 film, probably the culmination of Reinhardt´s productions of A Midsummer Night’s Dream. In addition, a number of topics will be analysed successively : the importance of the mise‑en‑scène, the darkness of Oberon and his train, Puck´s evolution, sexuality and the revision of elements from the 19th century tradition.
Book Chapters by Isabel Guerrero
Escenas y escenarios: itinerarios en los estudios teatrales, 2019
E s c e n a s y e s c e n a r i o s : i t i n e r a r i o s d e l o s E s t u d i o s T e a t r a... more E s c e n a s y e s c e n a r i o s : i t i n e r a r i o s d e l o s E s t u d i o s T e a t r a l e s I s a b e l Gu e r r e r o y A l b a S a u r a -C l a r e s ( e d s . ) © Editoras del volumen: Isabel Guerrero y Alba Saura-Clares. © Texto de los capítulos: los autores.
Estudios teatrales: nuevas perspectivas y visiones comparadas , 2017
On the move: Glancing Backwards To Build a Future in English Studies, 2016
The first Shakespeare celebration, Shakespeare Jubilee (1769), did not include the staging of any... more The first Shakespeare celebration, Shakespeare Jubilee (1769), did not include the staging of any play and generated a certain tension between the local, national and global status of the poet. The event was aimed at commemorating Shakespeare in his birthplace and celebrating him as a world genius. However, the celebrations were restricted to the local aristocracy and the visitors from London, leaving aside the people of Stratford. The Jubilee was the first celebration of Shakespeare with a series of artistic activities, which allows the analysis of the event as performative. This paper aims to, first, explore the issues related to ownership that emerged during the events and, second, to analyse the celebrations using Willmar Sauter’s model of the theatrical event to demonstrate how the Jubilee can be simultaneously considered a quasi-religious ritual and the precursor of the Shakespeare festivals yet to come.
Romeo and Juliet in European Culture, 2017
The Avignon Off and the Edinburgh Fringe Festival have a favourite Shakespearean play: Romeo and ... more The Avignon Off and the Edinburgh Fringe Festival have a favourite Shakespearean play: Romeo and Juliet. Between 2011 and 2014, the play has been staged fourteen times at the Edinburgh Fringe and thirteen at the Avignon Off. This success can be owing to its status as a well-known love story, its popularity and its emblematic scenes. Among the abundance of productions, two main trends can be identified: whereas many of the productions at the Edinburgh Fringe are staged by amateur groups, professional companies re-write the play or use it as a point of departure at the Avignon Off. This chapter seeks to address how Romeo and Juliet allows for different approaches in these two alternative festivals and, at the same time, it looks for reasons that explain the popularity of the play in 21st-century popular culture.
Cervantes, Shakespeare y la Edad de Oro de la Escena, 2018
This article focuses on the exchange of national authors of a Spanish company performing Shakespe... more This article focuses on the exchange of national authors of a Spanish company performing Shakespeare and, something more unusual, an English company bringing Cervantes into the stage. In 2004, the Royal Shakespeare Company’s Golden Age season included Cervantes’ Pedro, the Great Pretender, premiered in Stratford-upon-Avon. In Spain, among the numerous companies that stage Shakespeare every year, Tdiferencia produced Las alegres casadas in 2015, an adaptation of Shakespeare’s The Merry Wives of Windsor performed at the Festival de Teatro Clásico de Almagro. Whereas Las alegres casadas is fully detached from its English setting, the RSC tries to preserve the Spanish flavour of Cervantes’ work. The aim of the article is to examine the fortunes of Shakespeare and Cervantes in 21st-century theatre practice through the exchange of national authors of the RSC and Tdiferencia, paying special attention to aspects as their approach to classical plays, the use of theatricality, their reinvention of their main characters or the implications about the global/local status of the two authors.
Books by Isabel Guerrero
E s c e n a s y e s c e n a r i o s : i t i n e r a r i o s d e l o s E s t u d i o s T e a t r a... more E s c e n a s y e s c e n a r i o s : i t i n e r a r i o s d e l o s E s t u d i o s T e a t r a l e s I s a b e l Gu e r r e r o y A l b a S a u r a -C l a r e s ( e d s . ) © Editoras del volumen: Isabel Guerrero y Alba Saura-Clares. © Texto de los capítulos: los autores.
Estudios teatrales: nuevas perspectivas y visiones comparadas, 2017
Reviews by Isabel Guerrero
SEDERI Yearbook, 2016
Performance review of the 'Las Alegres Casadas (Merry Wives of Windsor)' at the Festival Internac... more Performance review of the 'Las Alegres Casadas (Merry Wives of Windsor)' at the Festival Internacional de Teatro Clásico de Almagro, Espacio Miguel Narros, 17 July 201
Published in Reviewing Shakespeare and in SEDERI Yearbook 24, 2014
Published in Reviewing Shakespeare and in SEDERI Yearbook 24, 2014
PhD Thesis by Isabel Guerrero
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Articles by Isabel Guerrero
Este estudio articula el concepto de Ibsen pop mediante el análisis de seis puestas en escena contemporáneas de la obra de Henrik Ibsen. Dichas propuestas comparten el uso de un nuevo realismo –que reinventa las obras para el espectador actual–, la convergencia de diversas estéticas teatrales y las referencias a elementos de la cultura pop actual. Las puestas en escena referidas son: Nora (T. Ostermeier, 2002), Hedda Gabler (T. Ostermeier, 2007), El pato salvaje (S. Stone, 2011), Un enemigo del pueblo (T. Ostermeier, 2012), Casa de muñecas (X. Flores, 2013), y Peer Gynt (I. Brook, 2014).
Abstract
This study articulates the concept Ibsen pop through the analysis of six contemporary productions of Henrik Ibsen’s plays. The productions have in common their new conception of realism (closer to twentieth-first-century audiences), the blend of different theatrical styles and the constant references to pop culture. The productions analysed are: Nora (T. Ostermeier, 2002), Hedda Gabler (T. Ostermeier, 2007), The Wild Duck (Simon Stone, 2011), An Enemy of the People (T. Ostermeier, 2012), A Doll’s House (X. Flores, 2013), and Peer Gynt (I. Brook, 2014).
Book Chapters by Isabel Guerrero
Books by Isabel Guerrero
Disponible en acceso abierto: http://libros.um.es/editum/catalog/book/1881
Reviews by Isabel Guerrero
PhD Thesis by Isabel Guerrero
Este estudio articula el concepto de Ibsen pop mediante el análisis de seis puestas en escena contemporáneas de la obra de Henrik Ibsen. Dichas propuestas comparten el uso de un nuevo realismo –que reinventa las obras para el espectador actual–, la convergencia de diversas estéticas teatrales y las referencias a elementos de la cultura pop actual. Las puestas en escena referidas son: Nora (T. Ostermeier, 2002), Hedda Gabler (T. Ostermeier, 2007), El pato salvaje (S. Stone, 2011), Un enemigo del pueblo (T. Ostermeier, 2012), Casa de muñecas (X. Flores, 2013), y Peer Gynt (I. Brook, 2014).
Abstract
This study articulates the concept Ibsen pop through the analysis of six contemporary productions of Henrik Ibsen’s plays. The productions have in common their new conception of realism (closer to twentieth-first-century audiences), the blend of different theatrical styles and the constant references to pop culture. The productions analysed are: Nora (T. Ostermeier, 2002), Hedda Gabler (T. Ostermeier, 2007), The Wild Duck (Simon Stone, 2011), An Enemy of the People (T. Ostermeier, 2012), A Doll’s House (X. Flores, 2013), and Peer Gynt (I. Brook, 2014).
Disponible en acceso abierto: http://libros.um.es/editum/catalog/book/1881
This is a Special Issue on Theatre and Performance Studies in English.