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De ce Shakespeare?Apartenenţa la
identitatea europeană
1564-1616
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1558-1603
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Contribuţia românească in domeniul studiilorshakespeariene se rezuma la studii individuale,
alcătuite de nume de prestigiu ale anglisticiiromâneşti (Leon Leviţchi, Alexandru Duţu,Dan Duţescu, Dan Grigorescu, Mihai Bogdan),
Nu exista nici o sistematizare a informaţiei
compatibilă cu bazele de date europene simondiale.
MISIUNE
Integrarea acestor contribuţii valoroase
româneşti, atât în domeniul traducerilor, arteiteatrale, interpretărilor critice, cât şi aladaptărilor literare şi muzicale în circuituleuropean şi mondial.
ISTORIC
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In acest fel, pe de o parte cultura română îşi
poate promova valorile pe fundalulcercetării internaţionale, iar pe de altă parteea îşi poate defini o componentă identitară prin receptarea lui Shakespeare ca un text
fundamental al culturii europene.
Până la finalizarea proiectului Shakespeareîn memoria spaţiului cultural românesc, în
România încă nu a fost întocmit un studiu bibliografic si analitic care să sistematizezereceptarea lui Shakespeare sub toate
aspectele ei in spaţiul cultural românesc.
MISIUNE
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In secolul al XIX-lea, adoptarea canonului
shakespearian in Romania prin traduceri şi prin
reprezentări teatrale (fraţii Ghica, Petre Carp,Haralamb Lecca) era receptată ca o formă deintegrare a României moderne in circuitul
valorilor culturale europene.
Generaţia care a intrat în istoria literaturii românesub numele de marii clasici a considerat că prinelaborarea traducerilor sau a materialelor
informative despre Shakespeare în limba română, prin intermediari francezi sau germani, sau direct
din limba engleză, se crea o cale de integrare aculturii române pe drumul modernităţii şi în
memoria culturală europeană.
SECOLUL XIX
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Pentru scriitori ca Eminescu sau Caragiale,
lecturile shakespeariene, sau chiar încercări detraducere în cazul lui Eminescu, au fost
experienţe estetice fondatoare care au determinatindirect canonizarea acestei generaţii.
Amprenta stilistică a modelului shakespearianeste vizibilă şi în consolidarea sistemelorgenerice ale epocii; discuţiile din cadrulcenaclului Junimea pe marginea traducerilor din
opera lui Shakespeare au contribuit fundamentalla formarea spiritului critic în cultura română.
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Mai târziu, la începutul secolului al XX-lea şi în
perioada interbelică, a continuat seria traducerilorde prestigiu (Adolph Stern, Henry Marcus,Mihail Dragomirescu, V. Demetrius, G.
Topârceanu, Ion Marin Sadoveanu, Dragoş
Protopopescu, Ioan C. Jinga, Petre Grimm, GalaGalaction) şi a montărilor scenice din pieseleshakespeariene, care au contribuit atât la
dezvoltarea limbii române literare şi a formelor
de expresie incipiente in teatrul românesc, cât şila fundamentarea principiilor artei interpretative
româneşti.
SECOLUL XX
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Shakespeare în teatrul românesc
De opera lui Shakespeare pe scenele
româneşti se leagă nume ca: Mihail
Pascally, Grigore şi Ion Manolescu,Constantin Nottara, A. Demetriade, Tony
Bulandra, C. Mărculescu, Zaharia Bârsan,
G. Calboreanu, G. Vraca.
SECOLUL XIX
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Shakespeare în perioada comunistă In perioada comunistă, asimilarea în literatura şi
montările teatrale ale operei shakespeariene au fostfolosite de regim pentru a legitima cultural un sistem
politic şi pentru a demonstra deschiderea către valorile
europene. Printre traducătorii din această perioadă îi amintim pe
Şt.O. Iosif, Maria Banuş, Vera Călin, Florian Nicolau, Nina Cassian, Tudor Vianu, Petru Dumitriu, Al.
Philippide, Mihnea Gheorghiu, Ion Vinea, PetreSolomon, Vasile Voiculescu, Ion Barbu, Vladimir
Streinu, Ion Frunzetti, Gheorghe Tomozei, Dan Duţescu,Leon Leviţchi, Dan Grigorescu.
SECOLUL XX
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Shakespeare în perioada comunistă In paralel, exista o formă subversivă a
elitei culturale româneşti, prin care aceastafolosea interpretările shakespeariene de
orice fel, mai ales cele teatrale, ca o formămascată de a critica regimul politic. Printreregizorii şi actorii care au rămas in
memoria culturală a acestei perioade senumără George Cozorici, Ştefan Iordache,Liviu Ciulei.
SECOLUL XX
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REZULTATE CONCRETE
Datele existente în acest domeniu de
cercetare al studiilor shakespeariene au fost
sistematizate şi ele sunt rezultatul unuiefort colectiv de durată, printr -o abordare atemei din mai multe perspective: literatura
română şi comparată, istoria limbii române
literare, teoria traducerii, istoria formelorculturale (arta dramatică) şi prelucrareainformatica a datelor în limba română şi
engleză
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IMPORTANŢĂ
Analizând traducerile, interpretările critice,receptarea teatrală şi impactul modelului
shakespearian asupra scriitorilor români,această direcţie de cercetare vizeazăaspecte ale integrării contribuţiei culturii
române in peisajul cultural european şimondial.
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SHAKESPEARE
ILUSTRAT
Piesele shakespeariene
în artele vizuale
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Where's my serpent of
old Nile? For so hecalls me
( Antony and Cleopatra, Act I, Scene v).
John W. Waterhouse. Cleopatra ( 1888)
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As You Like It
William Blake. Jaques and the
Wounded Stag, 1806.
Walter Howell Deverell. The Mock
Marriage of Orlando and Rosalind ,1853.
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Cymbeline
James Smetham. Imogen and the Shepherds, c. 1858-68.
Like other painters who have illustrated Act IV, Scene ii, of
Cymbeline, Smetham dresses Imogen as a girl, but she is
still disguised as a boy at this point in the play. Striving for
a pastoral feeling and mood in his painting, he also chooses
to make Arvigarus and Guiderius shepherds rather than
hunters.
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Hamlet
Philip H. Calderon. The Young Lord
Hamlet, 1868
This imaginative scene
is based on Hamlet'smeditation on the skull
of Yorick, old Hamlet's
jester.
In the graveyard (V, i)the gravedigger hands
the skull of the King's
jester to Hamlet, who
says: “Alas, poor
Yorick! I knew him,
Horatio: a fellow of
infinite jest”
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An amusing and whimsical version of III, ii of Hamlet – a scene with children playing as grown-
up actors.
Charles Hunt. The Play Scene in "Hamlet," 1868
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This large, sombre paintingillustrates Act II, Scene ii, of
Julius Caesar when Caesar'swife Calphurnia implores himto take the comet they see as a
portent and to stay away fromthe Senate on the Ides of March,the fifteenth day of the month.Caesar replies:
Cowards die many times beforetheir deaths;The valiant never taste of death
but once.Of all the wonders that I yet
have heard,It seems to me most strange thatmen should fear,Seeing that death, a necessaryend,Will come when it will come.
Edward John Poynter. The
Ides of March, 1883
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Alexandre-Marie Colin. The Three Witches from "Macbeth," 1827
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John Martin, Macbeth (1820)
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Johann Zoffany. David Garrick and Mrs.
Pritchard in "Macbeth," 1768.
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"There, at the moatedgrange, resides this
dejected Mariana"
( Measure for Measure,
Act III, Scene i).
Valentine C. Prinsep.
Mariana, 1888.
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"I am a woeful suitor to
your honour, Please butyour honour hear me"
( Measure for Measure, ActII, Scene ii).
Francis W. Topham.
Isabella, 1888.
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You that choose not by the viewChance as fair, and choose as true.
Since this fortune falls to youBe content and seek no new.If you be well pleased with thisAnd hold your fortune for your bliss,Turn you where your lady is,And claim her with a loving kiss.
The Merchant of Venice, III, ii
Richard ParkesBonington. Bassanio
and Portia, c. 1826
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There will come a Christian
boy, will be worth a
Jewess' eye
(The Merchant of
Venice, II, v).
Sir Samuel Luke Fildes. Jessica, 1888
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Be merciful.
Take thrice thy money; bid me
tear the bond.
The Merchant of Venice,
IV, i,
Thomas Sully. Portia and
Shylock, 1835
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"Tarry, Jew: The law hath yet
another hold on you"
The Merchant of Venice, IV, i).
Henry Woods. Portia, 1888
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Frank Cadogan Cowper. Titania Sleeps in "A Midsummer
Night's Dream," 1928
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Richard Dadd, Puck, 1841
Richard Dadd, Titania Sleeping, 1841
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A scene we do not actually see inthe play; just before Oberonsends Puck in Act II, Scene i, tofetch the love-in-idleness withwhich he will enchant thelovers he asks Puck if heremembers a particular nightwhen
Once I sat upon a promontory
And heard a mermaid, on adolphin's back,
Uttering such dulcet andharmonious breath
That the rude sea grew civil at hersong,
And certain stars shot madly fromtheir spheres
To hear the sea-maid's music.Joseph Noel Paton. Oberon and
the Mermaid , 1883
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George Romney. A study for Titania, Puck, and the Changeling, 1793
Marcus Stone Claudio Deceived by Don John Accuses Hero c 1861
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Act IV, Scene i, of Much Ado About Nothing when Claudio,tricked by the bastard Don John and his henchmenBorachio and Conrade, accuses Hero of infidelity just
before they are to marry
Marcus Stone. Claudio, Deceived by Don John, Accuses Hero, c. 1861
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Frederic Leighton. Desdemona, c. 1888
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Act II, Scene i, of Othello when Othello
arrives in Cyprus and is greeted by
Desdemona.
Thomas Stothard. The
Meeting of Othello and
Desdemona, c. 1799
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Francis Hayman. David
Garrick as Richard III, 1760John Everett Millais. The
Princes in the Tower , 1878
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Richard Northcote. The Murder
of the Princes in the Tower ,
1805Thomas Sully. George
Frederick Cooke as Richard III,
1811
Henry William Bunbury Romeo and Juliet with Friar Laurence 1792-96
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Act II, Scene vii; Friar Laurence leads Romeo and Juliet
from his cell to marry them
Henry William Bunbury. Romeo and Juliet with Friar Laurence, 1792 96
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Philip H. Calderon.
Juliet, 1888
Frank Dicksee. Romeo and Juliet , 1884
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John R. S. Stanhope. Juliet and Her Nurse, 1863
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Frederic Lord Leighton. The Reconciliation of the Montagues and
Capulets, 1854
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Frederic Lord Leighton. The Reconciliation of the Montagues and
Capulets over the Dead Bodies of Romeo and Juliet , 1853
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John Everett Millais. The Death of Romeo and Juliet , 1848
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Hughes depicts Katherine in anuncharacteristically pensivemood, contemplating her
empty plate and glass,hungry and no doubtmulling over what course ofaction she might take.
She complains of her hunger tothe servant Grumio andimplores him to bring hersome food
Edward Robert Hughes.
The Shrew Katherina,
1898
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Frederic Leighton. Bianca, 1881
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James Henry Nixon. The Tempest
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Act II, Scene i, of The
Tempest when Ariel
prevents the murder of
Alonso, the King of Naples, and his advisor
Gonzalo by Antonio
and Sebastian.
Alonso and Gonzalo aresleeping, but Ariel sings
into Gonzalo's ear
Paul Falconer Poole. A Scene from
the Tempest , 1856
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John W. Waterhouse. Miranda, 1916
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The love-sick Duke Orsino, pining for the
Countess Olivia, who shows no interest inhim, uses music to assuage his grief:
“If music be the food of love, play on;/Give me excess of it”
Walter H. Deverell. Twelfth
Night, 1850
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In Act V, Scene i, Olivia has married
Sebastian, the twin bother of Viola, who isdisguised as a young man, Cesario. When
Olivia confronts Cesario, whom she thinks
she has married, confusion reigns.
William Hamilton. A Scene from
"Twelfth Night," c. 1797
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Have you any commission from your lord to
negotiate with my face? You are now out of yourtext: but we will draw the curtain and show youthe picture
Twelfth Night, I, v
Edmund Blair Leighton.
Olivia, 1888
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In Act III, Scene i, of
Twelfth Night Viola,
disguised as a young manCesario, once again
comes to the Countess
Olivia to press the suit ofhis master, the Duke
Orsino.
But Olivia is smitten with
Cesario and declares her
love for the young "man"Frederick Richard
Pickersgill. Viola and the
Countess, 1859
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William Blake. Portrait of Shakespeare, c. 1800-1803
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Sir John Gilbert. The Plays of William Shakespeare, 1849
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Westall depicts an uncharacteristically young and
rakish Shakespeare flirting with Comedy, a light,wanton figure dressed in a revealinglydiaphanous gown. Shakespeare holds the hand ofComedy, but he extends his other hand and bidsTragedy to stay
Richard Westall. Shakespeare
Between Tragedy and Comedy,
1825
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