Se quelle labbra potessero parlare _ Tremolardellamarina

The present article reviews the stage history of Othello in Spain and, in particular, it focuses on two performances of the play staged at the Español theatre during Franco’s dictatorship, in 1944 and 1971 respectively. Othello was one of the Shakespearean plays programmed by the regime to give cultural prestige to the “national” theatre. By comparing both productions, this paper explores how the performance of Othello evolved during the dictatorship. Furthermore, it shows how the repressive force of state censorship was exerted to promote certain theatrical conventions and to prevent theatre directors and translators from offering new readings and updatings of the plays, in the case of Othello, for almost thirty years.

Balıkesir Üniversitesi Sosyal Bilimler Enstitüsü Dergisi

In this article, I deal with otherness, namely foreignness in Shakespearean drama. Particularly, the representation of alterity in Shakespeare's Othello is the dominant issue throughout. A number of Shakespeare's plays include a foreign character; however, each of them fulfils a different function. In Shakespeare's drama, "others" represent more than commonplace "alien" figures. They are ascribed several functions by critics. According to Margo Hendricks, they are caricatures, stereotypes other than real characters. On the other hand, Loomba aptly argues that "others are only figures of speech in Shakespearean drama, conjured up to establish a point of view". In her view, these outsiders are initially regarded as "footnotes", that is, they have secondary importance in the theatres; however, later on they gain value as a means to probe the relationship between West and East. In this context Othello, apart from the undesirable "alien" character, undertakes a multi-functional role in community. It is put forward in this study that Othello is two-dimensional in terms of his roles. On the one hand he is "other" who symbolizes, so to speak, the enemies of the "same". From this aspect, he is assimilated and moulded in accordance with the available order. On the other hand, he is an individual member of the community who undertakes a complementary function that is emphasized throughout. Shakespeare, who stands in between this duality, comes up with the solution of presenting this character as scapegoat. However, that kind of sacrifice does not satisfy the biased audience; on the contrary, the majority ends up sympathizing with the victim. The people's prejudices show a boomerang effect by turning towards them in the end.

Shakespeare Bulletin 39.2 (2021): 286-90. Print.

Sederi, 2017

Shakespeare was introduced into the Romanian Principalities between 1830 and 1855, beginning with a production of The Merchant of Venice, translated from a French adaptation of the play. This essay considers the dearth of critical attention paid to the influence of French melodrama in Southeastern Europe, and in Romania in particular; examines the circulation of Shakespearean productions in this area; and investigates the various processes of de-and re-contextualization involved in the melodramatic adaptation of The Merchant of Venice in France in the 1830s and in its translation/performance in the Romanian Principalities in the 1850s.

An expanded online version of the film-bibliography published in Sarah Hatchuel and Nathalie Vienne-Guerrin (eds.), Shakespeare on Screen: Othello (Cambridge: Cambridge University Press, 2015). Current length: 28,051 words. Updated in April 2016.

Studia Dramatica, 2018

The paper presents the history of Romanian theatre, beginning with the creation of the first Romanian itinerant theatre company, at the middle of the 18 th century, to the present. It is intended as a foreword and a chronological framework to this special issue of Studia Dramatica. The year 2018 is the centenary of the union of Transylvania, Banat, as well as of Bessarabia and North Bukovina with the Kingdom of Romania. The " Great Union " at the end of the First World War, as known in Romanian historiography, crowned the Romanians' movements of national and cultural emancipation from the ward of the Habsburg Monarchy (followed by the Austro-Hungarian Empire), of the Ottoman and Russian Empires, movements initiated in the second half of the 18 th century and intensified in the 19 th. Given the celebration of the centenary of the Great Union, we intend to dedicate an issue of the journal Studia Dramatica to Romanian theatre, which we seek to revisit not only festively, but also critically. The history of Romanian theatre is slightly longer than one century: the first Romanian itinerant theatre company was created by several Transylvanian students, from Blaj, at the middle of the 18 th century, the century of the first attempts to create dramatic texts in Romanian. The first theatre shows in Romanian, in Moldavia and Wallachia, were performed in

Sederi

Shakespeare was introduced into the Romanian Principalities between 1830 and 1855, beginning with a production of The Merchant of Venice, translated from a French adaptation of the play. This essay considers the dearth of critical attention paid to the influence of French melodrama in Southeastern Europe, and in Romania in particular; examines the circulation of Shakespearean productions in this area; and investigates the various processes of de-and re-contextualization involved in the melodramatic adaptation of The Merchant of Venice in France in the 1830s and in its translation/performance in the Romanian Principalities in the 1850s.

RESUMO: O presente artigo visa a discutir alguns pontos acerca do caráter de ruptura do teatro trágico shakespeariano, focando, especificamente, Hamlet e Otelo. ABSTRACT: This article aims at discussing some aspects about Shakespearean tragic theatre, focusing on Hamlet and Othelo.