Shakespeare's Clown: Actor and Text in the Elizabethan Playhouse

Knowles, Ronald; Wiles, David; Bryant, J. A.

doi:10.2307/3507556

Cited by 2 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Not only do directors of Shakespeare's plays add stage directions, but also editors of new editions do the same: for example, Molly Maureen Mahood (2003) says, "a few clarifying stage directions have been added" (Shakespeare, 1600. Likewise, a drama translator is a "dramaturge" (Wiles;Enani, 2012Enani, , p. 106, 2020 who produces a version of the original discourse. That version may be described as new, romantic, postcolonial, distorted, etc.…”

Section: Methodsmentioning

confidence: 99%

“…The clown of a published drama is supposed to be a clown for all seasons, whereas a staged version is usually intended for a certain audience. Shakespeare made suitable texts for famous clown-actors like Robert Armin, Kemp and Tarlton (Wiles, 2005). Likewise, Tanyus Abdu made special texts for Shaykh Salāma Ḥijāzī who was a famous singer (Hanna,p.…”

Section: Setting the Problemmentioning

confidence: 99%

See 1 more Smart Citation

Theoretical and Practical Problems of Rendering the Clown’s Discourse in Shakespeare's Dramas into Arabic

Okasha

2023

مجلة کلیة الآداب بقنا

View full text Add to dashboard Cite

This study explores and examines the historical, literary and translation theories that may help the translator reach the best solutions as far as rendering clown discourse in Shakespeare's plays into Arabic is concerned. It attempts to explore the net of relations between various disciplines that might form a stable basis of interrelated theories. Positivist historiography versus subjectivism and New Historicism are discussed as tools that lead to different understandings of the clown discourse. Bourdieusian social approaches to translation are also applied to eventually prove that translation depends on a theory of relations; if fully understood, the theory and practice of the translation career will foster, acquire more lands and build clearer borderlines. Analyses of different translations of clown discourse in Shakespeare prove that rendering clown discourse in Shakespeare needs revision from time to time to be reproduced in a new way agreeing with the clownish terminology of every age. Collecting the corpus of clowns in Shakespeare's dramas, tracing their characteristic and linguistic traits and how these traits must be reflected in translation is not only beneficial to the translation studies, but also to the historical and social research endeavors of England and the West at that time.

show abstract

Section: Methodsmentioning

confidence: 99%

Section: Setting the Problemmentioning

confidence: 99%

Theoretical and Practical Problems of Rendering the Clown’s Discourse in Shakespeare's Dramas into Arabic

Okasha

2023

مجلة کلیة الآداب بقنا

View full text Add to dashboard Cite

show abstract

“…Tarlton visited every horizontal and every vertical stratum of Early Modern English society, not only in the roles he played, but also as for as biographical reality was concerned. 181 Wiles argues that he never played the role of a Vice, especially because he never became a "professional", like the Vice figure should 182 . Can we really think about Tarlton as a so-called "amateur"?…”

Section: The Medium Of Carnivalmentioning

confidence: 99%

“…Cambridge University Press, 2005. pp. [182][183][184][185][186][187][188][189][190][191] 523 Leslie Hotson's Shakespeare's Motley. New York: Oxford University Press, 1952. pp.…”

Section: Malvolio the Clownmentioning

confidence: 99%

Shakespeare's clown: the decarnivalization of the world in three of his dramas

Bársony¹

2016

View full text Add to dashboard Cite

Bakhtin's narrowly self-terminating terminology became a serious hindrance in building further theoretical structures and as irrelevant issues of carnival came to the fore, the clown or fool figure was "lost in translation". 8 The immediate epistemological relatedness of the carnival and the "Lord of Misrule" was never taken seriously, its questions have been never thoroughly answered from the time of Welsford's The Fool.Regarded from a certain point of view, then, the folkfestivals seem to consist of concentric rings of folly. They are times of universal licentiousness, when all revellers who take part in them are in a vaguely defined way infected with the prevailing 'foolishness'. This 'foolishness' is, however, concentrated in certain performances which are regarded as buffoon-dances or fool-plays; and in these performances themselves, certain characters-often mere supernumeraries-specialize in folly, chief among whom is the grotesquely disguised figure, the Clown or Fool par excellence. Who then is this Fool? 9Of course, there were other serious dilemmas making "clown and fool scholars" even more hesitant. As Bakhtin's theoretical structure was problematic, but thought-provoking and inspiring as well, Welsford's work proved to be fragile and indeterminate, hard to rely on. The problem of the delicate The Fool was the unifying comparative historical view of its known and well criticized precursors. Because behind Welsford and her main source, the generally accepted E. K. Chambers "Stages" 10 , James George Frazer sat in his "arm chair" with his frequently challenged The Golden Bough, and the equally problematic Cambridge ritualist school 11 . The universal fool or clown par excellence character can typically be based only on the universal anthropological comparativism of Frazer and the "Covent Garden 7 Idem, pp. 51-52 8 It is revealing that Bakhtin himself does not even mention the concept of grotesque realism in his excerpts, written on Shakespeare, which he wanted to add to his Rabelais-book, anymore.

show abstract

Shakespeare's Clown: Actor and Text in the Elizabethan Playhouse

Cited by 2 publications

References 0 publications

Theoretical and Practical Problems of Rendering the Clown’s Discourse in Shakespeare's Dramas into Arabic

Theoretical and Practical Problems of Rendering the Clown’s Discourse in Shakespeare's Dramas into Arabic

Shakespeare's clown: the decarnivalization of the world in three of his dramas

Contact Info

Product

Resources

About