C1_De Ce Shakespeare_X (1)

8/15/2019 C1_De Ce Shakespeare_X (1)

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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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