Dominique Goy-Blanquet – författare

Like many of his fellow playwrights, Shakespeare turned to national history for inspiration. In this study, Dominique Goy-Blanquet provides a close comparison of the Henry VI plays and Richard III with their historical and theatrical sources, demonstrating how Shakespeare was able to meet not only the ideological but also the technical problems of turning history into drama, how by cutting, carving, shaping, casting his unwieldy material into performable plays, he matured into the most influential dramatist and historian of his time.Recent criticism of Shakespeare's history plays has often consisted of fierce arguments over their ideological import and Shakespeare's position on the spectrum of current political opinions. This book, however, stems from the belief that a more constructive starting point for research is the exploration of the technical problems raised by turning heavy narratives into performable plays, rather than the political motives that could inpire a playwright's representation of national history.Illuminating and instructive, Shakespeare's Early History Plays includes not only close investigation of the verbal, poetic, and political texture of the plays, but also provides a broad overview of the wider sixteenth-century historiographical contexts of the plays, and their significance to Shakespeare's oeuvre more generally.

The interaction of poetry and politics has shaped Joan into a transnational myth dedicated to the most contradictory causes. No other character has inspired a more impressive list of writers, but no other myth possesses the malleability required to serve rival camps. Whatever their distortions of fact for art's sake, these famed authors deployed an extensive knowledge of known records. The quality of the exchanges between the best creative and philosophical minds of preceding centuries, their capacity for reading, range of interests, literary judgment, critical shrewdness, all offer priceless models of investigation for our times. A close inquiry into the makings of the legendary heroine brings to light various false impressions still endorsed today by a number of noteworthy historians and literary critics. This collection of essays, updated for the English language edition, follows Joan of Arc in the Western consciousness, throughout the chain of texts, fictions, comments, from the time of her launching into celebrity by Jean Gerson and Christine de Pizan to the most recent stage and film versions. D. Goy-Blanquet investigates the exchanges between England, France and Germany, down to Joan's nationalisation by Michelet. Francoise Michaud-Frejaville studies, through little known seventeenth-century versions, a period of decline in the heroine's popularity, with Jean Chapelain's much decried Pucelle at its lowest ebb. Nadia Margolis picks up the thread from Michelet to explore the background of frenzied political quarrels, and personal self-identifications, for possession of the nineteenth-century heroine, down to their ultimate appropriation, that by the National Front. Jacques Darras questions Peguy and the warmongers who used Joan as a firebrand against pacifists like Jean Jaures, down to the singular fate of Anouilh's L'Alouette, and beyond them the nationalistic strains which continue to infect the French political scene. An essay composed especially for this

Migrating Shakespeare offers the first study of the earliest waves of Shakespeare’s migration into Europe. Charting the spread of the reception and production of his plays across the continent, it examines how Shakespeare contributed to national cultures and – in some cases – nation building. The chapters explore the routes and cultural networks through which Shakespeare entered European consciousness, from first translations to stage adaptations and critical response. The role of strolling players and actors, translators and printers, poets and dramatists, is chronicled alongside the larger political and cultural movements shaping nations. Each individual case discloses the national, literary and theatrical issues Shakespeare encountered, revealing not only how cultures have accommodated and adapted Shakespeare on their own terms but their interpretative contribution to the texts. Taken collectively the volume addresses key questions about Shakespeare’s naturalization or reluctant accommodation within other cultures, inaugurating his present global reach.

Patrice Chéreau (1944 - 2013) was one of France’s leading directors in the theatre and on film and a major influence on Shakespearean performance. He is internationally known for memorable productions of both drama and opera. His life-long companionship with Shakespeare began in 1970 when his innovative Richard II made the young director famous overnight and caused his translator to denounce him publicly as an iconoclast, for a production mixing “music-hall, circus, and pankration”. After this break, Chéreau read Shakespeare’s texts assiduously, “line by line and word by word”, with another renowned poet, Yves Bonnefoy.Drawing on new interviews with many of Chereau's collaborators, this study explores a unique theatre maker's interpretations of Shakespeare in relation to the European tradition and to his wider body of work on stage and film, to establish his profound influence on other producers of Shakespeare.

Migrating Shakespeare offers the first study of the earliest waves of Shakespeare’s migration into Europe. Charting the spread of the reception and production of his plays across the continent, it examines how Shakespeare contributed to national cultures and – in some cases – nation building. The chapters explore the routes and cultural networks through which Shakespeare entered European consciousness, from first translations to stage adaptations and critical response. The role of strolling players and actors, translators and printers, poets and dramatists, is chronicled alongside the larger political and cultural movements shaping nations. Each individual case discloses the national, literary and theatrical issues Shakespeare encountered, revealing not only how cultures have accommodated and adapted Shakespeare on their own terms but their interpretative contribution to the texts. Taken collectively the volume addresses key questions about Shakespeare’s naturalization or reluctant accommodation within other cultures, inaugurating his present global reach.

Patrice Chéreau (1944 - 2013) was one of France’s leading directors in the theatre and on film and a major influence on Shakespearean performance. He is internationally known for memorable productions of both drama and opera. His life-long companionship with Shakespeare began in 1970 when his innovative Richard II made the young director famous overnight and caused his translator to denounce him publicly as an iconoclast, for a production mixing “music-hall, circus, and pankration”. After this break, Chéreau read Shakespeare’s texts assiduously, “line by line and word by word”, with another renowned poet, Yves Bonnefoy.Drawing on new interviews with many of Chereau's collaborators, this study explores a unique theatre maker's interpretations of Shakespeare in relation to the European tradition and to his wider body of work on stage and film, to establish his profound influence on other producers of Shakespeare.