The Merchant in Venice: Shylock’s „Unheimlich” Return
Name
[23007605 - Multicultural Shakespeare] The Merchant in Venice_ Shylock’s Unheimlich Return.pdf
Description
Published version
Size
1.88 MB
Format
Adobe PDF
Checksum (MD5)
49e74bd9410d3c1b52f674b12233a388
Author(s)
Henderson, Diana E.
Date Issued
2017
Journal
Multicultural Shakespeare: Translation, Appropriation and Performance
Publisher
Uniwersytet Lodzki (University of Lodz)
Version
Final published version
Abstract
The first decades of the new millennium have seen an odd return to origins in Shakespeare studies. The Merchant in Venice, a site-specific theatrical production realized during the 500 anniversary year of the "original" Jewish Ghetto, was not only a highlight among the many special events commemorating the 400 anniversary of Shakespeare's death in 2016, but also a more creative and complex response to historicism. With her nontraditional casting of five Shylocks (developed through collaborations with scholars and students as well as her international, multilingual company), director Karin Coonrod made visible the acts of cultural projection and fracturing that Shakespeare's play both epitomizes and has subsequently prompted. This article, written by a participant-observer commissioned to capture on video the making and performance of Compagnia de' Colombari's six-night run in the Campo del Ghetto Nuovo, explores the way this place is - and indeed, the category of place itself is always - a dynamic temporal construct, defying more complacent attempts at simple return (to home, to the text, to the past). Such a recognition allows nuanced, hybrid forms of multicultural theater and Shakespeare scholarship to emerge, and to collaborate more fruitfully. th th
MIT Department
Massachusetts Institute of Technology. Literature Section
Terms of Use
Creative Commons Attribution-NonCommercial-NoDerivs License
Persistent DSpace Link
DOI of Published Version
10.1515/mstap-2017-0012
https://doi.org/10.1515/mstap-2017-0012
