Szekspiromania. Księga dedykowana pamięci Andrzeja Żurowskiego
Shakespeareomania. A book dedicated to the memory of Andrzej Żurowski
Contributor(s): Anna Cetera-Włodarczyk (Editor)
Subject(s): History, Theatre, Dance, Performing Arts, Language and Literature Studies, Fine Arts / Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
Published by: Wydawnictwa Uniwersytetu Warszawskiego
Keywords: Shakespeare in Polish theatre; Polish Shakespeare scholars; Shakespearean inspirations; Polish theatre studies
Summary/Abstract: A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.
- E-ISBN-13: 978-83-235-1255-4
- Print-ISBN-13: 978-83-235-1074-1
- Page Count: 508
- Publication Year: 2013
- Language: English, Polish
Uścisk Szekspira
Uścisk Szekspira
(In the clutches of Shakespeare)
- Author(s):Anna Cetera-Włodarczyk
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:9-14
- No. of Pages:6
- Keywords:Shakespeare in Polish theatre; Polish Shakespeare scholars; Shakespearean inspirations; Polish theatre studies
- Summary/Abstract:A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.
- Price: 4.50 €
Biogram i bibliografia prac Andrzeja Żurowskiego
Biogram i bibliografia prac Andrzeja Żurowskiego
(Andrzej Żurowski's biography and bibliography)
- Author(s):Jolanta Betkowska
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:15-64
- No. of Pages:50
- Keywords:Shakespeare in Polish theatre; Polish Shakespeare scholars; Shakespearean inspirations; Polish theatre studies
- Summary/Abstract:A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.
- Price: 4.50 €
Szekspir w teatrze Stanisława Koźmiana, Kraków: 1865-1885
Szekspir w teatrze Stanisława Koźmiana, Kraków: 1865-1885
(Shakespeare in Stanisław Koźmian’s Theatre, Cracow: 1865-1885)
- Author(s):Marta Gibińska
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:67-83
- No. of Pages:17
- Keywords:Stanisław Koźmian; Cracow’s City Theatre; 19th century theatre repertoire; Shakespeare
- Summary/Abstract:Koźmian, director of Cracow’s City Theatre in the years 1865–1885 and a theatre reviewer, created a well-organized theatrical enterprise with a distinct artistic profile and well-balanced repertoire in which the best Polish plays were shown together with the canonical French, German and Russian classics. Shakespeare loomed large in the Theatre’s repertoire because for Koźmian his plays were the top achievement of European drama. The paper examines Koźmian’s ideas about drama, theatre and acting; his emphasis on both Polish and European plays in the repertoire results from the ambition to change the provincial stage into a national one, influencing and stimulating intellectual and artistic life in the then partitioned country. In this context the gradual introduction of Shakespeare’s plays (or rather their adaptations) in new translations is shown as a process of appropriating them as part and parcel of Polish culture.
- Price: 4.50 €
Bolesław Prus podziwia Helenę Modrzejewską
Bolesław Prus podziwia Helenę Modrzejewską
(Bolesław Prus admires Helena Modrzejewska)
- Author(s):Józef Bachórz
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:84-91
- No. of Pages:8
- Keywords:Bolesław Prus; 19th century; Polish theatres; Helena Modrzejewska
- Summary/Abstract:Bolesław Prus took a lively interest in Polish theatre, which he followed out of a sense of journalistic duty (throughout his life Prus earned most of his income through journalism). He took careful note of major events in Poland’s cultural life, notably those taking place in the Russian-occupied Kingdom of Poland, where the theatres were licensed to produce plays in Polish. Prus did not put a lot of a weight on theatre, which he never saw as fundamental to the nation’s life (he was similarly unimpressed by the other arts, including, perhaps a touch surprisingly, literature), and tended to focus instead on those areas which he saw as more fundamental to the well-being of society, such as education, science, economic development or relationships between social classes. Having said that, Prus enjoyed his theatre, and he paid attention to productions taking place in Warsaw. Notable among his numerous columns on the problems, events and personalities of Warsaw’s theatre are those which focus on the actress Helena Modrzejewska. Many of his columns written in 1882 and 1885 pay considerable attention to the actress. Prus believed that Modrzejewska was one of the most eminent artists of the theatre in Poland and abroad, and he ranked her alongside the famous Sarah Bernhardt. He admired here xtraordinary talent and range of expression, noting how her professionalism was based on reliability and diligence. Prus never joined her critics who decried Modrzejewska’s decision to pursue a career in the United States and did not see her as being unpatriotic. He criticised instead the Polish version of the tall poppy syndrome whose poisonous brew of envy and backbiting encouraged the more enterprising individuals to leave the country for an international career.
- Price: 4.50 €
Hamlet i Hamlet 1914. Rekonesans
Hamlet i Hamlet 1914. Rekonesans
(Hamlet and Hamlet 1914. A Reconnaissance)
- Author(s):Jan Michalik
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:92-102
- No. of Pages:11
- Keywords:Hamlet; Tadeusz Pawlikowski; Cracow; Karol Adwentowicz; Shakespeare
- Summary/Abstract:This article was inspired by a handwritten outline of the “screenplay” for a largely forgotten 1914 production of Hamlet in Kraków; drafted by Tadeusz Pawlikowski, widely regarded as the greatest director and theatre principal of late 19th- and early 20th-century Poland. The article opens with a description of the manuscript, a hitherto unknown document which preserves traces of the creative effort leading to the production’s premiere. The first section pieces together evidence from the manuscript with details gleaned from contemporary reviews to reconstruct the structure of the production (which involved over a dozen separate scenes), and the structure of the stage-space which used elements of a 1909 (1912) Max Rheinhard production at the Deutsches Theater in Berlin. The second section of the article argues that the production was a turning point in the critical appreciation of Karol Adwentowicz’s performance as Hamlet, more than five years after the great modernist actor added the character to his repertoire. The article is intended as a sort of reconnaissance mission to encourage further scholarly attention to what was arguably one of the most interesting theatrical productions of Hamlet in Poland.
- Price: 4.50 €
Z szekspirowskiego archiwum reżysera
Z szekspirowskiego archiwum reżysera
(From the Shakespeare Archive of the Stage Director)
- Author(s):Kazimierz Braun
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:103-121
- No. of Pages:19
- Keywords:Kazimierz Braun; Shakespeare productions; Romeo and Juliet; Hamlet; Twelfth Night; Delaware Park Festival in Buffalo; Kavinoky Theatre in Buffalo
- Summary/Abstract:The essay presents Kazimierz Braun’s Shakespeare productions directed in the United States. It opens with recollections of productions of plays by Shakespeare in which Braun either acted (Twelfth Night, Poznań University, 1957) or which he directed. These included Romeo and Juliet (Teatr Polski, Warsaw 1963), Hamlet (Teatr im. J. Osterwy, Lublin 1968), Twelfth Night (Teatr Współczesny, Wrocław 1981), Hamlet (PWST Theatre Academy in Wrocław, 1984), and also Twelfth Night in Esslingen, West Germany (1984). In America, Braun first directed his own medley of love scenes from Romeo and Juliet and Twelfth Night (Swarthmore College, 1985). Next, he directed a series of the Bard’s plays at the Shakespeare in Delaware Park Festival in Buffalo, New York: Henry V (1987), Julius Caesar (1988), King Lear (1989), and As You Like It (1991). He also staged Richard III at the Kavinoky Theatre in Buffalo (1999), where he was responsible for directing and stage design. Directing Shakespeare in its original English and in an open air setting helped Braun discover what he calls new Shakespearean horizons: the blank verse which is “actional” and totally integrates the actor’s words and deeds, controlling the actor not unlike a horse bridle, and at the same time guiding the actor’s actions, energizing him/her and imposing a rhythm on speech and movement; and secondly, replicating in the open-air theatre the potentially three-dimensional space of Elizabethan theatre, allowing a smooth and expressive structuring of the action.
- Price: 4.50 €
Shakespeare, the Polish Director’s Contemporary
Shakespeare, the Polish Director’s Contemporary
(Shakespeare, the Polish Director’s Contemporary)
- Author(s):Kathleen Cioffi
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:122-133
- No. of Pages:12
- Keywords:Shakespeare plays; National Audiovisual Institute; Polish Contemporary Shakespeare series; Jan Klata; Krzysztof Warlikowski; Jan Kott
- Summary/Abstract:“Shakespeare, the Polish Director’s Contemporary” considers two Polish productions of Shakespeare plays in the National Audiovisual Institute’s “Polish Contemporary Shakespeare” series. The author discusses the Polish tradition of “Shakespeare mania” and then analyzes Jan Klata’s production H. (an adaptation of Hamlet) and Krzysztof Warlikowski’s production Burza. Both directors apply Jan Kott’s idea that Shakespeare can be our contemporary to their productions, but they do so in different ways. The directors’ ability to achieve contemporaneity in their productions depends not only on stylistic directorial choices, but also on the changing nature of contemporary reality itself in the post-1989 era. Klata’s production seems to be almost an illustration of Kott’s discussion of Hamlet in Szkice o Szekspirze, yet at the same time, it has a curiously old-fashioned, Cold War–era feeling. H. enlists Shakespeare in the argument over European Union accession, an argument that was au courant in 2004 when the production was first staged but now seems dated. Warlikowski’s production appears less immediately contemporary in Kott’s sense than H., yet it illustrates Kott’s notion that Burza is “a passionate reckoning with the real world” as it was influenced by the controversy over Jedwabne, an issue that remains resonant to this day.
- Price: 4.50 €
Poznańska dyrekcja Janusza Wiśniewskiego albo Czas na klasyków
Poznańska dyrekcja Janusza Wiśniewskiego albo Czas na klasyków
(Janusz Wiśniewski’s Time at the Helm in Poznań: The Days of the Classics)
- Author(s):Tomasz Milkowski
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:134-154
- No. of Pages:21
- Keywords:Janusz Wiśniewski; Poznań; Teatr Nowy; Shakespeare
- Summary/Abstract:Janusz Wiśniewski’s auteur theatre project was born in Poznań in the early 1980s, catalysed by the production of Balladyna by Juliusz Słowacki in Teatr Nowy and followed by several more productions of original plays (including Koniec Europy [The End of Europe]). From the outset, Wiśniewski’s project provoked extreme reactions, enthusiastic or otherwise, with Andrzej Żurowski acting as a major advocate. Following the collapse of communism in the early 1990s, Wiśniewski tried to start a theatre company in Warsaw. When the project foundered after two premieres, he spent several years in Germany before coming back to Poznań, first as a director in Teatr Nowy, and later as theatre principal in 2003–2011. Wiśniewski successfully combined the roles of director and auteur. His Teatr Nowy tackled a number of dramatic forms ranging from traditional dramatic theatre (Romeo and Juliet) to metaphysical comedy (Richard III) and visual narrative theatre (The Tempest). Notably, Wiśniewski explored Polish and world classics at the time. This basic outline attempts to recreate Janusz Wiśniewski’s years at the helm in Poznań, and looks at his auteur productions which enjoyed good critical reception in Europe.
- Price: 4.50 €
Czarne lustra: Opowieści afrykańskie Krzysztofa Warlikowskiego
Czarne lustra: Opowieści afrykańskie Krzysztofa Warlikowskiego
(Black Mirrors: Opowieści afrykańskie [The African Stories] by Krzysztof Warlikowski)
- Author(s):Elżbieta Baniewicz
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:155-163
- No. of Pages:9
- Keywords:Krzysztof Warlikowski; Opowieści afrykańskie według Szekspira; Nowy Teatr in Warsaw; Piotr Gruszczyński; Shakespeare
- Summary/Abstract:This article (Czarne lustra – Black Mirrors) attempts to discuss and describe Krzysztof Warlikowski’s production Opowieści afrykańskie według Szekspira [African Stories According to Shakespeare] with the actors of the Nowy Teatr in Warsaw in collaboration with several European theatres. Warlikowski and his dramaturge, Piotr Gruszczyński, use some of European culture’s archetypal themes and situations embedded by Shakespeare in King Lear, Othello and The Merchant of Venice, but they also spin off certain continuations inspired by the works of J.M. Coetzee, Eldrige Claver and Wajdi Mouawad in order to complement the familiar European themes and to throw them into sharp relief against interpretations of other cultures. The Lebanese writer W. Mouawad, the African-American writer E. Claver and the South African writer and Nobel Prize winner J.M. Coetzee are able to raise questions from a non-European/African perspective with its experience of centuries-long humiliation and slavery. Europe and Africa have a long tradition of mutual questioning, and now that traditionally “white” countries have come to increasingly contain black and coloured populations, the resulting blend of cultures, races, religions and customs results in thorny issues and complex conflicts. Warlikowski’s production narrates this cultural intersection in time and space, taking a range of human perspectives to discuss issues such as solitude, sexuality, power and dominance.
- Price: 4.50 €
Hamlet and the Travelling Players
Hamlet and the Travelling Players
(Hamlet and the Travelling Players)
- Author(s):Daniel Gerould
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:167-181
- No. of Pages:15
- Keywords:itinerant actors; Hamlet; Eastern European theatre; Shakespeare adoptions;
- Summary/Abstract:This article discusses depictions of itinerant actors as a key to the innermost essence of theatrical art. In particular, it touches on productions of Hamlet and the experience of Eastern European theatre. In Hamlet, the wandering players perform several functions. Firstly, they reflect the political tensions of the day and the economic competition from children’s companies which Shakespeare was facing at the time. Secondly, they may be a reminiscence from Shakespeare’s own childhood, when similar itinerant companies visited Stratford. Thirdly, these scenes introduce the theme of theatre, even if the nature of Hamlet’s own stage experience remains open. It should be noted that historical attitudes to itinerant actors have not been stable. Initially very much an underclass occupation, the stigma was gradually replaced by a rhetoric of rebellion: a homeless actor turns into a dissenter, a poor but free vagabond, a pariah, a scapegoat, an occasional martyr. All these options are present in productions of Hamlet. The actors at Elsinore are chroniclers of the events, but also participants, even instigators of the events. Characteristically, Eastern European productions in countries marked by the experience of totalitarianism sometimes depict the actors as tragic figures, ensnared in political intrigue against their will, brutally abused and severely punished for naively siding with Prince Hamlet.
- Price: 4.50 €
The Tempest: Declan Donnellan and Oskaras Korsunovas Look Backwards into the Abyss of Time
The Tempest: Declan Donnellan and Oskaras Korsunovas Look Backwards into the Abyss of Time
(The Tempest: Declan Donnellan and Oskaras Korsunovas Look Backwards into the Abyss of Time)
- Author(s):Maria Shevtsova
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:182-191
- No. of Pages:10
- Keywords:The Tempest; Declan Donnellan; Cheek by Jowl; Oskaras Korsunovas; OKT/Vilnius City Theatre; Shakespeare
- Summary/Abstract:A reinvigorated interest in The Tempest by world-famous directors has surfaced in the past few years to give Shakespeare’s play some rather unexpected twists and turns. The most notable among recent productions has been the work of Declan Donnellan (2010) with the Russian sister company of Cheek by Jowl, which he founded in Britain in 1981, and the concise, fist-in-the-gut appropriation Miranda, After Shakespeare’s ‘The Tempest’ (2011) directed by Oskaras Korsunovas with the OKT/Vilnius City Theatre, founded in 1998. The striking link between these two productions is the way they cast their gaze into the Soviet past, each director having a different relationship with it. Donnellan essentially achieves it through his Russian ensemble where, as noted in this article, he was helped by actors fully experienced in devising the performance material through the étude method characteristic of the Russian school of acting. Korsunovas’s is a direct, visceral relationship, which is expressed in the corrosive surrealism of his perspective. The latter is in some ways close in spirit to the satirical humour of Donnellan’s production, but the interest of putting these two productions side by side is to highlight the singularity of each, and to show how each operates within the framework developed for it.
- Price: 4.50 €
The Face as a Stage: Roberto Bacci’s Hamlet
The Face as a Stage: Roberto Bacci’s Hamlet
(The Face as a Stage: Roberto Bacci’s Hamlet)
- Author(s):Jerzy Limon
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:192-206
- No. of Pages:15
- Keywords:theory of the theatre; Roberto Bacci; Hamlet; Shakespeare
- Summary/Abstract:This article touches upon theoretical issues of the theatre, and the basic source used to exemplify the thesis is Roberto Bacci’s Hamlet. In this production, the actors wear fencing masks and costumes, and when they uncover their faces, they become particular fictional figures. However, after they have played their role in a given scene, and put the masks back on, the meaning they carried evaporates or is reset. This means that when they uncover their face again, they can assume the role of someone else. The essay analyses the rules of the theatre that enable transformations of this kind.
- Price: 4.50 €
Hamlet spod znaku globalizacji
Hamlet spod znaku globalizacji
(A Globalized Hamlet)
- Author(s):Patrice Pavis
- Contributor(s):Piotr Szymanowski (Translator)
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:207-212
- No. of Pages:6
- Keywords:Peter Brook; Hamlet; Shakespeare
- Summary/Abstract:Peter Brook’s 2000 Hamlet (filmed in 2001) is an example of a globalised production where great pains are taken to make sure that the diverse backgrounds of its international cast can gel homogeneously. The interpretation is a sort of net force far removed from a critical reengagement of the text. The production seems to be guided by the impulse to try and come up with a versatile production fit for viewing and appraisal in a wide range of contexts. Is this shortage of vision and interpretive ambition a sign of humility, or is it a symptom of slick directing which fails to rise to the task of achieving critical engagement with the text?
- Price: 4.50 €
Mirrored Image and the Dislocation of Culture in Ninagawa’s Shakespeare
Mirrored Image and the Dislocation of Culture in Ninagawa’s Shakespeare
(Mirrored Image and the Dislocation of Culture in Ninagawa’s Shakespeare)
- Author(s):Manabu Noda
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:213-230
- No. of Pages:18
- Keywords:Yukio Ninagawa; Japanese theatre; Tatsumi Hijikata; Shakespeare
- Summary/Abstract:Yukio Ninagawa (b. 1935) is one of the most internationally known Japanese theatre directors for his productions of Western classics. However, he often seems defensive about directing them. My essay tries to argue that his defensiveness can be interpreted as a form of self-imposed Orientalism which consigns the mind to the West, the body to the East. For instance, in his praise of Tatsumi Hijikata’s 1972 butō piece Shiki-no tameno Nijūichi-ban [Twenty-seven Nights for the Four Seasons], Ninagawa showed his strong sympathy with the way Hijikata mixed the intellect of the West with the physicality of the East. Hijikata’s dances were broadly regarded as an unsightly form of parading and grotesque physicality, but as Ninagawa saw it, Japan’s origins were in this dark deformity. The dark origins of the indigenously Japanese was to Hijikata what the archetypal populace is to Ninagawa. The volatility of the crowd which Ninagawa loves to stage reflects the ambivalent modernity of post-World War II Japan. Ninagawa looked back on some imagined past for the origin or archetype of their nationality which he hoped might serve as an alternative to the kind of modernity of their undeniably westernized country. My paper examines ambivalent modernity in the way Ninagawa stages Shakespeare and other plays as mirroring the populace of the post-World War II political milieu of Japan.
- Price: 4.50 €
Metafory i praktyki teatru
Metafory i praktyki teatru
(Theatrical Metaphors and Practices)
- Author(s):Georges Banu
- Contributor(s):Piotr Szymanowski (Translator)
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:233-248
- No. of Pages:16
- Keywords:Shakespeare; theatrical practices; stage sets; manners of characterization
- Summary/Abstract:The attempts at describing theatre inform all works of Shakespeare though he never offers a consistent and homogeneous declaration of principles. The article is a brief survey of the multiplicity of references to the theatre and various practices known by men of the stage such as Shakespeare himself along with the metaphorical, or even symbolic use of these theatrical patterns, stage sets, actors and manners of characterization. If for Shakespeare all the world’s a stage, it is reasonable to explore the distribution of patterns underneath the plentitude of theatrical allusions scattered over his whole work.
- Price: 4.50 €
“My dreams presage too true”: Dreams as a Dramatic Device in Elizabethan Drama
“My dreams presage too true”: Dreams as a Dramatic Device in Elizabethan Drama
(“My dreams presage too true”: Dreams as a Dramatic Device in Elizabethan Drama)
- Author(s):Pavel Drábek
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:249-261
- No. of Pages:13
- Keywords:Elizabethan drama; metaphysics; techniques of drama construction; dreams in plays; Shakespeare
- Summary/Abstract:Throughout the entire period of Elizabethan drama dreams were used as a powerful dramatic device. They served as a means of character development (an early type of psychology), popular metaphysics as well as techniques of drama construction. This paper discusses dreams and their role in several plays by Shakespeare, The First Part of the Contention (also known as King Henry VI, Part II), King Richard III, Romeo and Juliet, and in the apocryphal Arden of Faversham and Sir Thomas More. These plays – although not a full list of Elizabethan plays that have dreams in them – may be read and understood within a single context, historically, that of the years 1590–93, in which they were all written and performed. As the dramatic function of the dream is analogical in those plays, the group may be referred to as forming a subgenre of the Elizabethan dream play.
- Price: 4.50 €
Conflict and Rhetoric. On the Structuring of Roles in Conflict in Shakespeare’s (Non)dramatic Poetry
Conflict and Rhetoric. On the Structuring of Roles in Conflict in Shakespeare’s (Non)dramatic Poetry
(Conflict and Rhetoric. On the Structuring of Roles in Conflict in Shakespeare’s (Non)dramatic Poetry)
- Author(s):Jacek Fabiszak
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:262-273
- No. of Pages:12
- Keywords:conflict; theatre; Shakespeare plays; English Renaissance education system; Shakespeare
- Summary/Abstract:It appears that conflict, so fundamental in drama and theatre, assumes a theatrical vest in Shakespeare’s dramatic and non-dramatic poetry. It does not matter what the nature of the conflict is: be it military, moral, ethic, etc. It does not matter either whether there are at least two conflicted characters, as the conflicted parties, especially in the case of poetry, can be contained within a single lyrical I. The key issue in the structuring of roles in conflict is of course the omnipresent rhetoric, which was an obligatory subject in the English Renaissance education system. For this reason, neither Shakespeare (who probably did go to King’s New School in Stratford) or his contemporaries (e.g. Christopher Marlowe) were well versed in it and purposefully or inadvertently employed it in their works, especially in the situation of VERBAL conflict when one party tried to argue with another. In such a conflict, characters, or their alter egos, posed as if they were actors on stage. The scrutiny centres on two examples of Shakespeare’s poetry: a sonnet (nondramatic verse) and a monologue from Macbeth (dramatic poetry). I will try to show how in each case, with the help of rhetorical rules, the speaker constructs his interlocutor in the process of solving a conflict.
- Price: 4.50 €
Shakespeare’s Unhistorical Inventions and Deviations from Holinshed, and Their Dramatic Functions in Richard II
Shakespeare’s Unhistorical Inventions and Deviations from Holinshed, and Their Dramatic Functions in Richard II
(Shakespeare’s Unhistorical Inventions and Deviations from Holinshed, and Their Dramatic Functions in Richard II)
- Author(s):Yun-Cheol Kim
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:274-284
- No. of Pages:11
- Keywords:Richard II; Holinshed’s Chronicles; Shakespeare
- Summary/Abstract:Much of the dramaturgical genius of Shakespeare’s later master tragedies is already to be found in Richard II, especially in his treatment of the main source: Holinshed’s Chronicles. This essay aims to explore Shakespeare’s departures from Holinshed in terms of characters and structure, and to see how they function in the drama. Shakespeare has changed Holinshed’s self-seeking Gaunt into an aged patriot to emphasize Richard’s weaknesses as King. He has matured Queen Isabel from a historical seven-year-old child to a fully grown woman, and facilitated Richard’s journey into self-discovery. In the garden scene that Shakespeare has invented, he even lets her, as Richard’s proxy, eavesdrop on the gardener’s admonitions on royal governance, in which Richard has failed. Most importantly, in terms of structure, Shakespeare puts the deposition scene before a large assembly in Westminster Hall, unlike historic Richard whose resignation was tendered by letter in the Tower of London. This invention, or deviation, enhances Richard as a tragic hero who has finally achieved self-knowledge, reconciliation to his fate, and victory in defeat. Shakespeare’s inventions and deviations from Holinshed in Richard II have foreshadowed some dramaturgical principles of his later great tragedies and surely put the play into a drama of truly tragic stature.
- Price: 4.50 €
Szekspirofobia? Mowa krótka w Jana Śniadeckiego obronie
Szekspirofobia? Mowa krótka w Jana Śniadeckiego obronie
(A Bardophobe? A Short Defence of Jan Śniadecki)
- Author(s):Anna Janicka, Jarosław Ławski
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:287-304
- No. of Pages:18
- Keywords:Jan Śniadecki; Enlightenment period; Shakespeare; Polish modern culture
- Summary/Abstract:This article focuses on Jan Śniadecki (1756–1830), an eminent Polish philosopher of the late Enlightenment period, and on his attitude to Shakespeare. Jan Śniadecki was a major figure in the debate on the shape of modern literature and culture in Poland in 1818–1825. A representative of classicising Enlightenment values, Śniadecki was seen as a conservative and an opponent of Romanticism, and as such he famously makes an appearance in Adam Mickiewicz’s ballad “Romantyczność”, a poem whose motto is taken from Shakespeare. Śniadecki has been accused of harbouring an aversion to Shakespeare, and he has met with ridicule for a passage in one of his treatises where he wonders if a more polished and well-educated 19th-century Shakespeare would have made a better playwright. As shown by the authors of this study, Śniadecki was not actually hostile to Shakespeare, whose genius he hailed on numerous occasions. What he found objectionable was the unquestioning adulation for the author of Richard III, a phenomenon we now call Bardolatry, as distinct from the more positive term of “Shakespeare mania” which denotes a broad fascination with the assimilated heritage of the English playwright. It appears that Śniadecki has fallen victim to a stereotype made permanent by the lasting success of the Romantic aesthetic in Polish culture.
- Price: 4.50 €
Sen, Słowacki, Szekspir i inni
Sen, Słowacki, Szekspir i inni
(Dreams, Słowacki, Shakespeare and Others)
- Author(s):Michał Kuziak
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:305-330
- No. of Pages:26
- Keywords:dreams; illusion; intertextual plays; Witold Gombrowicz; Juliusz Słowacki; Shakespeare; Calderon
- Summary/Abstract:This article focuses on the problem of dreams and the related cognitive, ontological and linguistic disorientation which leads to the experience of illusion. The article makes use of several highly intertextual plays including "Ślub" [The Wedding] by Witold Gombrowicz, "Balladyna" [Balladine], "Sen srebrny Salomei" [Salome’s Silver Dream] and "Samuel Zborowski" by Słowacki, and Shakespeare’s "A Midsummer Night’s Dream" and "Calderon’s Life is a Dream". These musings on 19th- and 20th-century literary texts invite reflection on the problem of the illusory nature of existence in post-modern thinking. Special attention is drawn to the diverse depictions of illusion in the plays and to their potential meanings.
- Price: 4.50 €
„Co będzie tam?”, czyli Hamleci Dostojewskiego (z rzutem oka na szekspiriana rosyjskiego geniusza)
„Co będzie tam?”, czyli Hamleci Dostojewskiego (z rzutem oka na szekspiriana rosyjskiego geniusza)
(“What’s waiting there?” – Dostoevsky’s Hamlets, and a Glance at Dostoevsky’s Shakespeareana)
- Author(s):Tadeusz Sucharski
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:331-354
- No. of Pages:24
- Keywords:Dostoevsky; Hamlet; Shakespeare; Russian literature
- Summary/Abstract:This short article presents the multi-dimensional links between the thoughts and works of Dostoevsky and the plays of Shakespeare. In one way or another, Dostoevsky lived his whole life under Shakespeare’s spell. He saw in Shakespeare an artist endowed with the power to reveal the ineffable aspects of reality, and his fascination is palpable in his numerous inter-textual allusions, quotations and cryptic references to Shakespeare’s plays as well as in his approach to characterisation (Stavrogin in The Possessed). Hamlet was a particularly important play to Dostoevsky, who saw Prince Hamlet as a champion of metaphysical rebellion. To him, Hamlet’s lines contained some of the most important existential dilemmas such as reflections on man’s place in the cosmos and musings on “existence” beyond the grave. From his youngest days suicide was always a lasting influence on Dostoevsky’s thinking; his best novels tend to contain characters who are “logically” drawn to suicide and have to undergo a variety of trials as if trying to find an ultimate answer to Hamlet’s famous question. To Dostoevsky, however, suicide was part and parcel of the human experience in a hopeless world stripped of all transcendence and stranded in a limbo between “the truth of science” and “the truth of faith”. Unlike the times of Hamlet, when things may have been chaotic but faith still prevailed, Dostoevsky’s characters exist in a period of empty transcendence and wanton free will, where suicide becomes a desperate attempt to find metaphysical consolation.
- Price: 4.50 €
Norwidowska „zbrodnia stanu”. Szekspir w twórczości Norwida (O Kleopatrze i Aktorze)
Norwidowska „zbrodnia stanu”. Szekspir w twórczości Norwida (O Kleopatrze i Aktorze)
(Norwid’s “Crime Against the State”. Shakespeare Is in the Works of Norwid (On Kleopatra and Aktor))
- Author(s):Sławomir Rzepczyński
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:355-369
- No. of Pages:15
- Keywords:Romanticism; Cyprian Kamil Norwid; Shakespeare; 19th century drama
- Summary/Abstract:A lasting presence in European culture and an important inspiration for the Romantics, Shakespeare’s works were nevertheless misunderstood by his 19th-century contemporaries, argued Norwid, and Shakespeare’s message had become lost over the centuries. Norwid’s comments on Shakespeare and his own dramatic works, notably Kleopatra and Aktor, call for a fresh re-examination of Shakespeare’s significance. In his historical tragedy Kleopatra, Norwid shows the dangers of settling for a cultural status quo and getting clammed up in one’s own period. In Aktor, a contemporary “comedic drama” (komediodrama), Norwid presents a critique of the 19th century which he believed had rejected the timeless values of the past, thus posing a threat to humanity and to the future of the world (Norwid derived his ideas on humanity’s development from the Bible and the teachings of the Church on the one hand, and from the philosophy of Hegel and Giambattista Vico on the other). The Shakespearean inspiration makes itself felt in Norwid’s works in a number of ways, including themes (notably man’s condition in the historical process), traditional genres, characterisation, and literary methods (plays within plays). To Norwid, Shakespeare was one of the “teachers of humanity” whose work should be continually re-examined to bring its historical detail in line with contemporary developments and universal categories.
- Price: 4.50 €
Measure for Measure: A Requiem for Humanity
Measure for Measure: A Requiem for Humanity
(Measure for Measure: A Requiem for Humanity)
- Author(s):Małgorzata Grzegorzewska
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:370-390
- No. of Pages:21
- Keywords:Shakespeare; Measure for Measure; philosphy; Soren Kierkegaard; Emmanuel Levinas; Giorgio Agamben
- Summary/Abstract:The author of the article proposes to view one of William Shakespeare’s “dark” comedies, "Measure for Measure", through the philosophical writings of Søren Kierkegaard, Emmanuel Lévinas and Giorgio Agamben. The principle of “commanded” love formulated in Kierkegaard’s original existentialist reformulation of the Christian commandment to love one’s neighbour, as presented in his "Works of Love", and the corresponding Levinasian concept of unconditional responsibility imposed on an individual by the appeal articulated in the “face of the other”, provide suitable grounds for reviewing the ethical implications of the play, which focuses on and juxtaposes the claims of “selfish” love with the demands of self-denial and sacrifice. Giorgio Agamben’s reflection on the tension between law and mercy, formulated in the apocalyptic, post-Auschwitz context, additionally highlights the manoeuvres of the hidden author(s) of martial law in the city of Vienna, as portrayed in Shakespeare’s drama.
- Price: 4.50 €
The Ghost of Shakespeare in the Poetry of Szymborska
The Ghost of Shakespeare in the Poetry of Szymborska
(The Ghost of Shakespeare in the Poetry of Szymborska)
- Author(s):Anna Frajlich
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:391-407
- No. of Pages:17
- Keywords:Shakespearean themes; Polish poetry; Wisława Szymborska; Jan Kott; Tadeusz Różewicz
- Summary/Abstract:Shakespearean themes in Polish poetry offer a huge critical potential. Interestingly, following their disappointment with the aesthetic of socialist realism, poets turned almost en masse to the images of Shakespeare and Bruegel. References to Shakespeare became a sort of code for discussing the topic of tyranny in the face of a still oppressive censorship system. What interests me in particular is the inter-textual relation between Szymborska’s poems and Jan Kott’s essays on Shakespeare, since they both underwent the change of heart experienced by many writers who had been seduced by Communist ideology during the Stalinist era after World War II, and later experienced the need to cleanse themselves. Beginning in 1956, many writers in Poland, and in the Communist bloc as a whole, sought an opportunity to free themselves from the confines of ideology, to break away from the monoculture of the Stalinist years. Those writers included Jan Kott, Tadeusz Różewicz, and Wisława Szymborska, to name only a few from a much longer list. I examine Wisława Szymborska‘s poems dealing with this issue, and review the existing literature on the topic.
- Price: 4.50 €
Venus and Adonis: Shakespeare’s Blueprint for Tragedy
Venus and Adonis: Shakespeare’s Blueprint for Tragedy
(Venus and Adonis: Shakespeare’s Blueprint for Tragedy)
- Author(s):Patricia Keeney
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:408-418
- No. of Pages:11
- Keywords:Ted Hughes; Shakespeare and the Goddess of Complete Being; Shakespeare; Venus and Adonis; mythology
- Summary/Abstract:Poet and theatre critic Patricia Keeney explores Ted Hughes’ monumental study, Shakespeare and the Goddess of Complete Being (1992) from its genesis in Shakespeare’s long poem, Venus and Adonis. In his study, Hughes explores a mythic structure that binds the entire Shakespearian corpus into one vast, ever-evolving work. Hughes connects the myth of ‘the hero who rejects the love of the goddess and is killed in revenge by a wild boar’ with ‘the living myth’ of the English Reformation. Keeney discusses the way in which Hughes’ reading of Shakespeare in the light of goddess mythology also becomes part of a salvage operation attempting to resurrect the women from the myth of the dying god from their religious and political limbos as virgins, mothers and whores, to restore them as not only real women but, in many cases, power figures of history. Throughout this paper, Keeney references the strong role played by the goddess figure in her own creative works of poetry and fiction and from a similar perspective to the one Hughes takes.
- Price: 4.50 €
The Englishness of Shakespeare
The Englishness of Shakespeare
(The Englishness of Shakespeare)
- Author(s):John Elsom
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:421-425
- No. of Pages:5
- Keywords:Shakespeare as an English dramatist; history of Britain; Shakespeare’s plays
- Summary/Abstract:Shakespeare’s plays are celebrated for their ‘universality’. They have been translated into most of the world’s languages and they can be seen in cities as far apart as Tashkent, Valparaiso and Novosibirsk. It has been said that some translations are even better than the originals or closer to the circumstances of their society than Shakespeare is to modern Britain. In this essay, Dr. Elsom turns this argument inside out and reclaims Shakespeare as an English dramatist. Drawing on his childhood memories, where he grew up in a Cotswold village not far from Stratford-upon-Avon in the years just after the Second World War, he describes how Shakespeare evokes the landscape of middle England, its plants, village life and pastoral celebrations. He points out the way in which Shakespeare has dramatised the history of Britain, not only its kings and queens, but its regions and place names. As a student of history, he found the accounts of British history from academic historians less gripping and even less ‘real’ than the stories in Shakespeare’s plays. Finally, he argues that Shakespeare expresses the British attitude towards the monarchy and regal celebrations, respecting the crown as a symbol of national pride and identity, but not over-respecting the people who wear the crown. He can be highly critical of the people who were kings, but not critical of national sovereignty itself, a very British compromise.
- Price: 4.50 €
Hamlet jednorożec
Hamlet jednorożec
(The Unicorn Hamlet)
- Author(s):Jarosław Komorowski
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:426-437
- No. of Pages:12
- Keywords:Shakespeare; The Tempest; Julius Caesar; Timon of Athens; unicorn; Hamlet; Ophelia; Mousetrap Scene
- Summary/Abstract:Shakespeare’s "The Tempest", "Julius Caesar" and "Timon of Athens" all contain references to the unicorn, a fabled beast whose existence was nevertheless taken seriously by some of the learned Elizabethans. The unicorn made its first appearance in European culture in the writings of classical Greeks and Romans, and it attained a symbolic significance early in the first millennium, as attested in "The Physiologus". The creature was believed to be too wild to capture unless a virgin was at hand to tame it, as the beast would approach her meekly and lay its head on her pure lap, where it became exposed to the hunters’ attack. By analogy to the Virgin Mary, who “captured” Jesus Christ for humanity, the unicorn became a symbol of the Saviour. Bestiaries paved the way for plentiful iconographic depictions of a unicorn with its head on a virgin’s lap in medieval paintings, carvings and sculptures, including strictly Christian versions of the Visitation featuring the unicorn where the Archangel Gabriel visits Mary as a hunter, with the animal symbolizing Christ climbing onto Mary’s lap. In "Hamlet", Shakespeare uses this popular theme in the Mousetrap Scene at a purely visual level, without actually naming the animal. In a stage transposition of the iconographic motif, the Prince of Denmark approaches Ophelia and lays his head on her lap following a brief exchange (“Lady, shall I lie in your lap?”) before "The Murder of Gonzago" can begin. In this way the play makes elegant use of the unicorn legend as the exchange links back to an earlier scene where Claudius and Polonius were trying to hunt Hamlet down using Ophelia as bait.
- Price: 4.50 €
„Z ciebie pewnie muzyk całą gębą…”
„Z ciebie pewnie muzyk całą gębą…”
("Then should you be nothing but musical...")
- Author(s):Piotr Kamiński
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:438-450
- No. of Pages:13
- Keywords:Shakespeare; music in theatre; Shakespeare-themed operas; Giuseppe Verdi
- Summary/Abstract:Greek mythology and Shakespeare are European culture’s two inexhaustible treasure houses. Although myth obviously dwarfs all other sources in its impact, the very fact that the output of a single poet can be mentioned in a single breath with the collective work of generations is a testament to Shakespeare’s influence on European musicians. Music pervaded every aspect of theatrical production in Shakespeare’s day, and we may only regret that Shakespeare never collaborated with the greatest composers of his time. The 17th-century musical embellishments of Shakespeare’s plays relied on adaptations instead of his original works, and the 18th century was very much a blank page: Shakespeare’s great music career began in the 19th century and continues to this day. The breakthrough came in 1827 with the premiere of "The Midsummer Night’s Dream Overture" by the 17-year-old Mendelssohn, and the visit of the Kemble company in Paris, which sparked a Shakespeare craze in a generation of French artists. Shakespeare themed operas continue to be written, and three masterpieces by Giuseppe Verdi ("Macbeth", "Otello" and "Falstaff") still vie for popularity with Shakespeare’s originals. Verdi’s success remains unmatched by other Shakespeare-themed operas, but there have been some excellent orchestral scores written for the theatre ("The Tempest by Sibelius", 1925) or for ballet (Prokofiev’s "Romeo and Juliet", 1935).
- Price: 4.50 €
A New Interpretation of the Blue Lights in Richard III: Functions of the Blue Hue in Yūshi Odashima’s Translation
A New Interpretation of the Blue Lights in Richard III: Functions of the Blue Hue in Yūshi Odashima’s Translation
(A New Interpretation of the Blue Lights in Richard III: Functions of the Blue Hue in Yūshi Odashima’s Translation)
- Author(s):Ayami Oki-Siekierczak
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:451-462
- No. of Pages:12
- Keywords:colour in theatre; Richard III; translation of colour in Japan; Yūshi Odashim; Japanese reception of Shakespeare
- Summary/Abstract:In Shakespeare’s art, visual perception is entwined with touch, taste, hearing, and smell: the colour terms stimulate other senses, recalling their symbolic meanings in both ‘colourful’ plays (such as "Romeo and Juliet" and "The Winter’s Tale") and those dominated by bleak and darkish hues (such as "Richard III" and "Hamlet"). The paper surveys Shakespeare’s contemporary perception of colours so that we can understand more clearly what his colour usage means in the play, describes Shakespeare’s use of colour in "Richard III" and specifies what kinds of colour appear at which points in the play. It also covers the translation of colour in Japan, while particularly focusing on blue in Odashima’s 1983 translation, comparing it with other important translations in the history of the Japanese reception of Shakespeare.
- Price: 4.50 €
O znaczkach z Szajlokiem
O znaczkach z Szajlokiem
(On Shylock Postage Stamps)
- Author(s):Mieczysław Abramowicz
- Language:English, Polish
- Subject(s):Theatre, Dance, Performing Arts, Cultural history, Theoretical Linguistics, Applied Linguistics, Studies of Literature, Philology, Theory of Literature, British Literature
- Page Range:463-474
- No. of Pages:12
- Keywords:postage stamp; Shakespeare portrait; The Merchant of Venice; Shylock
- Summary/Abstract:The first postage stamp bearing the image of William Shakespeare was issued 24 years after the world’s first ever stamp, the Penny Black, came out on 6 May 1840. Today, a complete collection of Shakespeare-themed stamps from all over the world would have to include almost a thousand items (stamps, stamp series, souvenir sheets, commemorative postmarks, first day covers, postcards) with hundreds of themes ranging from portraits of Shakespeare to scenes from his plays, including "The Merchant of Venice". Shylock first appeared on a postage, stamp issued by the Emirate of Fujeira as part of a nine-piece series (1969), followed by two Senegalese stamps (1972) and a Sierra Leone series (1989). The most recent Merchant of Venice-themed stamp is part of a ten-stamp series issued by Saint Vincent and the Grenadines, a tiny island nation in the Caribbean. The stamp shows Portia who is played, rather surprisingly, by the Disney character of Minnie (the series also shows Donald Duck as Hamlet, Mickey Mouse and Daisy as Romeo and Ophelia, Goofy as Mark Antony and Clarabell Cow as Titania). The Polish Post Office has never come up with Shakespeare-themed stamps, so the author takes the liberty of recommending a virtual series to feature portraits of famous actors appearing in performances of "The Merchant of Venice" in Gdańsk, including Siegfried Gotthilf Eckhardt (1780), Ludwig Devrient (1818, 1821), Ira Aldridge (1854), Marija Vera (1917), and others.
- Price: 4.50 €