Visul lui tanase online dating

Shakespeare in the Romanian Cultural Memory Monica Matei-Chesnoiu Fairleigh Dickinson University Press Shakespeare in the Romanian Cultural Memory This page intentionally left blank Shakespeare in the Romanian Cultural Memory Monica Matei-Chesnoiu With a Foreword by Arthur F. Often exotic and eccentric facts and lands then were facts and lands Romanians know all too well.

Kinney Madison • Teaneck Fairleigh Dickinson University Press 2006 by Rosemont Publishing & Printing Corp. Authorization to photocopy items for internal or personal use, or the internal or personal use of specific clients, is granted by the copyright owner, provided that a base fee of .00, plus eight cents per page, per copy is paid directly to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, Massachusetts 01923. Shakespeare’s utilization of them— indeed, his very intervention—gives Romania a kind of just cause to deploy his works metamorphosed through Fascist and Communist regimes.

Kinney A catwalk traversed the stage; and lots of ropes hung from the state canopy, like lianas in a tropical forest.

76 77 121 140 214 9 This page intentionally left blank Foreword Arthur F.

¸ Hamlet directed by Vlad Mugur at the Cluj National Theater (2001).

Twelfth Night (The Kings’ Night or What You Will) directed by Andrei Serban at the Bucharest National Theater (1991).

By as early as the 1970s, imaginative directors were seizing on new ways to present Shakespeare’s works: Macbeth, for instance, in a 1976 production, had no weird sisters, but instead had the predictions and prophecies as Macbeth’s own secret thoughts that haunted his consciousness as they haunted his conscience.

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Staging Revenge and Power: Masks of Romanian Hamlets 7.

The tragedies at first seemed to support ideological and Socialist oppression, showing the force of power and the need for clear rule; they were performed in ways that seemed to signify the superiority of Communism over capitalism by applying idealized Marxist theories involving class struggle.

But they were also made to display consequent social decline, and to take such weakening of the state and disintegration slowly.

With painstaking care and admirable caution, Matei-Chesnoiu picks through the recent past cries of her own beloved country to show Shakespearean inflections in another place, but in our time.

The observations can be unnerving; but they are also energizing.

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