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Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs... Works CitedAbel, Lionel. “Hamlet Q. E. D.” In: Metatheatre: A New View of Dramatic Form. New York: Hill and Young, 1963. 40-58.Auslander, Philip. Liveness: Performance in a Mediatized Culture. London: Routledge, 1999.Brewster, Ben. 1997. Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: OUP.Calderwood, James L. To Be and Not To Be: Negation and Metadrama in Hamlet. New York: Columbia University Press, 1983.Csizner, Ildikó. “Van benne rendszer.” Zsöllye, 2003, issue 3.Eaton, Edward. “Hamlet and His Women: A Study of Four Films.” Philological Papers 45 (1999): 47-55.Elam, Keir. The Semiotics of Theatre and Drama. London and New York: Routledge, 1980.10.4324/9780203426074Fischer-Lichte, Erika. Trans. Jeremy Gaines and Doris L. Jones. The Semiotics of Theater. Bloomington: Indiana University Press, 1992 [1983].Fischer-Lichte, Erika. Trans. Saskya Iris Jain. The Transformative Power of Performance: A New Aesthetics. Abingdon and New York: Routledge, 2008 [2004].Fischlin, Daniel and Fortier, Mark ed. Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. London: Routledge, 2000.Gelencsér, Tünde. “A közönséget érzi az ember: Beszélgetés Stenczer Bélával.” Zsöllye (March), 2003.Giesekam, Greg. Staging the Screen: The Use of Film and Video in Theatre. Houndmills, Basingstoke and New York: Palgrave Macmillan, 2007.Hapgood, Robert ed. Hamlet. Cambridge: CUP, 1999.Kattenbelt, Chiel. “Intermediality in Theatre and Performance: Definitions, Perceptions and Medial Relationships.” Cultural Studies Journal of Universitat Jaume 1 2008 (vol 6). 19-29.Kennedy, Dennis. Looking at Shakespeare: A Visual History of Twentieth-century Performance. 2nd ed. Cambridge: CUP, 2001.Liszka, Tamás. “Nemlét.” Zsöllye (March), 2003. 6.Mancewicz, Aneta. Intermedial Shakespeares on European Stages. Houndmills, Basingstoke and New York: Palgrave Macmillan, 2014.Minier, Márta. ‘“I’m a Tradesman”: An Interview with Ádám Nádasdy, the Translator’: The Anachronist, 2002. 303-314. <http://seas3.elte.hu/anachronist/2002MinierNadasdy.htm> accessed 3 December 2017.Nagy, Imre. “Revolveres Hamlet.” Új Dunántúli Napló (29 January), 2003.Nielsen, Jakob. Hypertext and Hypermedia. San Diego, CA: Academic Press, INC., 1990.Rutter, Carol Chillington. Enter the Body: Women and Representation on Shakespeare’s Stage. London and New York: Routledge, 2001.Shakespeare, William. Ed. Harold Jenkins. Hamlet Prince of Denmark. Arden Shakespeare. Reprinted by Thomson Learning, 1982 (reprinted 2000).Shakespeare, William. Trans. Ádám Nádasdy. A Midsummer Night’s Dream. Szentivánéji álom. Budapest: Ikon, 1995.Shakespeare, William. Trans. Ádám Nádasdy. Hamlet, Dánia hercege: Tragédia két részben. Pécsi Nemzeti Színház [promptbook of the 2003 Pécs production; courtesy of Pécsi Nemzeti Színház], [2003].Zábrádi, Mariann. “A gonoszság napfényre jön, leplezze bár egy ország (...?).” Echo (May/2), 2003. 26-27.Vardac, Alexander Nicholas. Stage to Screen: Theatrical Method from Garrick to Griffiths. Cambridge, Mass.: Harvard U.P., 1949.Worthen, W. B. “Shakespearean Performativity.” Shakespeare and Modern Theatre: The Performance of Modernity. Ed. Michael Bristol and Kathleen McLuskie with Christopher Holmes. London and New York: Routledge, 2001. 117-141. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Multicultural Shakespeare de Gruyter

Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

Multicultural Shakespeare , Volume 16 (1): 20 – Dec 1, 2017

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Publisher
de Gruyter
Copyright
© 2017 Márta Minier, published by De Gruyter Open
ISSN
2083-8530
eISSN
2300-7605
DOI
10.1515/mstap-2017-0021
Publisher site
See Article on Publisher Site

Abstract

Works CitedAbel, Lionel. “Hamlet Q. E. D.” In: Metatheatre: A New View of Dramatic Form. New York: Hill and Young, 1963. 40-58.Auslander, Philip. Liveness: Performance in a Mediatized Culture. London: Routledge, 1999.Brewster, Ben. 1997. Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: OUP.Calderwood, James L. To Be and Not To Be: Negation and Metadrama in Hamlet. New York: Columbia University Press, 1983.Csizner, Ildikó. “Van benne rendszer.” Zsöllye, 2003, issue 3.Eaton, Edward. “Hamlet and His Women: A Study of Four Films.” Philological Papers 45 (1999): 47-55.Elam, Keir. The Semiotics of Theatre and Drama. London and New York: Routledge, 1980.10.4324/9780203426074Fischer-Lichte, Erika. Trans. Jeremy Gaines and Doris L. Jones. The Semiotics of Theater. Bloomington: Indiana University Press, 1992 [1983].Fischer-Lichte, Erika. Trans. Saskya Iris Jain. The Transformative Power of Performance: A New Aesthetics. Abingdon and New York: Routledge, 2008 [2004].Fischlin, Daniel and Fortier, Mark ed. Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. London: Routledge, 2000.Gelencsér, Tünde. “A közönséget érzi az ember: Beszélgetés Stenczer Bélával.” Zsöllye (March), 2003.Giesekam, Greg. Staging the Screen: The Use of Film and Video in Theatre. Houndmills, Basingstoke and New York: Palgrave Macmillan, 2007.Hapgood, Robert ed. Hamlet. Cambridge: CUP, 1999.Kattenbelt, Chiel. “Intermediality in Theatre and Performance: Definitions, Perceptions and Medial Relationships.” Cultural Studies Journal of Universitat Jaume 1 2008 (vol 6). 19-29.Kennedy, Dennis. Looking at Shakespeare: A Visual History of Twentieth-century Performance. 2nd ed. Cambridge: CUP, 2001.Liszka, Tamás. “Nemlét.” Zsöllye (March), 2003. 6.Mancewicz, Aneta. Intermedial Shakespeares on European Stages. Houndmills, Basingstoke and New York: Palgrave Macmillan, 2014.Minier, Márta. ‘“I’m a Tradesman”: An Interview with Ádám Nádasdy, the Translator’: The Anachronist, 2002. 303-314. <http://seas3.elte.hu/anachronist/2002MinierNadasdy.htm> accessed 3 December 2017.Nagy, Imre. “Revolveres Hamlet.” Új Dunántúli Napló (29 January), 2003.Nielsen, Jakob. Hypertext and Hypermedia. San Diego, CA: Academic Press, INC., 1990.Rutter, Carol Chillington. Enter the Body: Women and Representation on Shakespeare’s Stage. London and New York: Routledge, 2001.Shakespeare, William. Ed. Harold Jenkins. Hamlet Prince of Denmark. Arden Shakespeare. Reprinted by Thomson Learning, 1982 (reprinted 2000).Shakespeare, William. Trans. Ádám Nádasdy. A Midsummer Night’s Dream. Szentivánéji álom. Budapest: Ikon, 1995.Shakespeare, William. Trans. Ádám Nádasdy. Hamlet, Dánia hercege: Tragédia két részben. Pécsi Nemzeti Színház [promptbook of the 2003 Pécs production; courtesy of Pécsi Nemzeti Színház], [2003].Zábrádi, Mariann. “A gonoszság napfényre jön, leplezze bár egy ország (...?).” Echo (May/2), 2003. 26-27.Vardac, Alexander Nicholas. Stage to Screen: Theatrical Method from Garrick to Griffiths. Cambridge, Mass.: Harvard U.P., 1949.Worthen, W. B. “Shakespearean Performativity.” Shakespeare and Modern Theatre: The Performance of Modernity. Ed. Michael Bristol and Kathleen McLuskie with Christopher Holmes. London and New York: Routledge, 2001. 117-141.

Journal

Multicultural Shakespearede Gruyter

Published: Dec 1, 2017

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