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This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Edward B.M. Rendall; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Fairbanks; section 4(b) is by Emanuel Stelzer; section 4(c) is by Shirley Bell; section 4(d) is by Ben Haworth; section 4(e) is by Vanessa Lim; section 4(f) is by Sheilagh Ilona O’Brien; section 4(g) is by Luca Baratta.
This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Edward B.M. Rendall; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Fairbanks; section 4(b) is by Emanuel Stelzer; section 4(c) is by Shirley Bell; section 4(d) is by Ben Haworth; section 4(e) is by Vanessa Lim; section 4(f) is by Sheilagh Ilona O’Brien; section 4(g) is by Luca Baratta.
Turkey is among those Non-Anglophone countries which have had a keen interest in Shakespeare and his plays for over two hundred years. When it comes to the staging of Shakespeare in Turkey, especially when protagonists or leading roles are considered, “overacting” is one of the most notable techniques highlighting, presumably, the spirit of the Renaissance and Jacobean times. Still, in recent years, there have been some productions which try to challenge and deconstruct the traditional ways of staging a Shakespearean play. One of such productions is Hamlet of Istanbul State Theatre, directed by Işıl Kasapoğlu in 2014, in which the director makes use of postdramatic theatre techniques. As the play begins, the audience sees a huge red jewel box which has been placed onto the centre of the stage. Soon after it is opened, it becomes clear that the character coming out of the box is playing and enacting not only the role of Hamlet but also many other roles in the play. Disrupting the habitual Shakespearean staging which heavily relies on mimesis in a closed “fictive cosmos” (Lehmann 22), the production, more strikingly, allows for an innovative Shakespearean acting as an innovative Shakespearean acting possible as the actor acts out all the major roles, such as Hamlet, Claudius, Gertrude, Ophelia, Polonius, etc., in such various ways as holding dummies in his hands and enacting their roles in monologues and dialogues. Fusing Hans-Thies Lehmann’s theory of postdramatic theatre with Jill Dolan’s argumentation on utopian performative, this study will investigate how postdramatic theatre techniques challenge the traditional Shakespearean performance and contends that postdramatic theatre techniques used in Kasapoğlu’s Hamlet contribute to the utopian performative and the possibility of creating a utopian impulse in the audience. The paper thus will claim that postdramatic performance of Hamlet renders a utopian performative possible by presenting a transformative potential in the audience members which engages in our present moment.
While reports of the death of literature are greatly exaggerated, reports of the decline of Aestheticism, New Criticism, and the printed word are not. Literature as a critique of society is alive today, but to survive tomorrow in any form it will need to engage environmental, climate, and pandemic public health issues. Without such engagement, there will be no civilization, and, thus, no literature. Literature can survive now, but to thrive, essays in literary criticism may have to not only (i) continue to discuss canonical and (ii) minority writing but also (iii) partner with cultural studies and/or (iv) expand the definition of literature to include “the best stories”, (v) especially multimedia stories. Critics would also be well advised to (vi) balance abstraction and theory with close, detailed readings of literature. Editors might encourage new essays demonstrating that (vii) unity in literature is compatible with the celebration of diversity, that explore (viii) the relationship of literature and science in general, and (ix) the integration of unity in literature with the search for unified theory in science. Finally, editors might encourage new essays on less trendy topics such as (x) literature focused on feelings and/or (xi) how literature helps individual readers make radical changes in their lives.
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