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08/03/12 13:21NOTES – Shakespeare Everywhere: Taking Shakespeare Overseas | 2012 STA Conference at Orlando Shakespeare Theater

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2012 STA Conference at Orlando Shakespeare TheaterOrlando, FL | February 29 – March 3, 2012

NOTES – Shakespeare Everywhere: TakingShakespeare OverseasPosted on March 2, 2012 by Jay | Leave a comment

Shakespeare Everywhere: Taking Shakespeare OverseasModerator: Patrick Spottiswoode – Shakespeare’s GlobePanelists: Jerzy Limon – Gdansk Shakespeare Festival, Poland;Luisa Rovida de Sanctis – Teatro Licinium, Italy;Mauro Maya and Aimara Resende – Instituto Gandarela, Brazil

March 1, 2012, 2:00pm-3:10pm

Materials Mentioned: book: Genius of Shakespeare by Jonathan Bate (1998)website: European Shakespeare Festival Network-http://www.esfn.eu

Session Summary: The session discussed the idea of translating Shakespeare’s text into different languages.We deliberated on the fact that Shakespeare can be adapted to different languages and in what aspect, whether itbe through literally translating the language, adapting the story, or carrying over characters/plot.

Notes:

“One touch of Shakespeare makes the whole world kin”We want to explore how Shakespeare is translated and translated theatrically as texts in differentcountries.We want to discover how cultures adopt Shakespeare as a whole.Luisa: Translating is one of the biggest sacred monsters.

What is the purpose of a translation? Logical or dramaturgical?The common themes when translating are passionate and provocative.Normally translations have been done by writers themselves; however, we do not have this luxury.1726, first Italian to mention Shakespeare.1983, The Tempest was translated in Old Naples tongue. It was performed by prisoners along withfamous Italian actors. For example, Shakespeare Behind Bars.34,000 performance entertainment venues in Italy,In recent years, English has been a requirement starting in Kindergarten. Shakespeare is introducedto them though little puppet characters. Where as older students will read and perform Shakespearein English.




in English.

Jerzy:There are 5 or 6 complete works in different translations.Political engagements, sensitivityA big question in translating the text is, How do we translate sexual innuendo? In order to translatethis, the actor must physicalize it in order to make the text clear. Another way is that the translatorwould need to modernize it to make it understandable.Shakespeare text is treated as a form of “existence of theatre” in the English speaking world.Shakespeare is taught in the schools of Poland. There are 3 plays that are required in thecurriculum–Hamlet being one of them.The teachers are taught new technology, acting, and directing among other courses.Main issue: What is the need of the audience?Poland is one of eight countries that partake in The European Shakespeare festival.

Mauro: Brazil, not just a country of Football and Carnival.A New Globe will be opening in Brazil.Translating Shakespeare into PortugueseBrazil needs to represent Shakespeare.Brazil wants to learn and share the language Shakespeare has created for us.The Globe in Brazil can resolve the problem of not having theatre in schools.

Italy has very good translations that are considered classic. They use an Italian that is culturally elevated,but sill accessible. They do not have the need for new translations because the updating comes by itself.They want the commitment, passion, and vision of the directors to influence the work.

European Shakespeare Festival Network – Counties involved: Hungary, Romania, Germany, Spain,Britain, Poland, DenmarkIn terms of collaborating with different countries, the grants/funding for the European countries cannot bespent on companies outside of Europe.

William Brown (Arabian gulf): Have any of you played with mixed languages? If so, how was it received?

Luisa: When translating from the original into Italian we try to match the different translations, not choose thebest one.The first thing to do, is find the best possible translation for that specific work you have chosen toproduce.The sources are usually from highly recognized translators. You are not obliged to follow a singleauthor, but you may have a mix of Italian translations.

Jerzy: You can have a mix of languages in one show. It has been very interesting and fruitful.

Tina Packer: Different sections of society use Shakespeare for their own purpose. Are there things that havecome from philosophy or psychology that you as a country have made a movement? How do we useshakespeare?

Jerzy: Shakespeare has always been political, especially after WWII. First production after Stalin’s death wasHamlet. Dealing with everyone eavesdropping on everyone else. This made a political statement. There wascensorship, but it wasn’t as severe as it was in other countries.




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censorship, but it wasn’t as severe as it was in other countries.

Luisa: Referencing this as culture makes it a matter of how the director wants to address the attention. ForItaly, it is something more in the past.

(Folger Theatre): For schools that are reading Shakespeare in english, are they reading Shakespeare’s wordsor modernized english versions?

Jerzy: Shakespeare’s Original English

Luisa: Shakespeare’s Original English that is then adapted to the lectures.The Italian translation is what isadapted. Translating is betraying the original language. It is like using a half language because there are notenough words in one language to substitute the same amount of words in English.

Richard Garner (Georgia Shakespeare) “I love the idea that Shakespeare is not bound by Language.”Regardless of what language it is, the appeal of Shakespeare is clearly universal and strong. But, what isShakespeare? Is it language, is it folio, is it quarto? Is it characters? Is it based on a specific production, place,and time? What carries over from the original Translation? Do you think of the Rhetoric? Or do you think, whatis the story, what is the character?

Jerzy: Rhetoric is gone. They don’t understand what Rhetoric is exactly. Conveying it to the present dayaudience is beyond the reach, unless you do it in the classroom and teach how it was done years ago. Thetranslation is based on the words and how the director sees it.

Question to Mauro: You mentioned that theatre or Shakespeare is prohibited in schools? Is it not allowed atall?

Mauro: Many schools got rid of theatre and art. Shakespeare is a moment to explore the arts through English.

Closing Statement (Patrick Spottiswoode): One of his favorite German Actors told him this:(paraphrased) I feel sorry for you. You live in the country Shakespeare was originated and must perform it how itwas intend. In other languages we are free to do as we wish. We don’t have the same guidelines, where as theEnglish language is stuck.

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clipping digitalNotes New Buildings for Shakespeare

07/03/12 17:21NOTES – New Buildings for Shakespeare | 2012 STA Conference at Orlando Shakespeare Theater

Page 1 of 3http://sta2012.wordpress.com/2012/03/02/notes-new-buildings-for-shakespeare/

2012 STA Conference at Orlando Shakespeare TheaterOrlando, FL | February 29 – March 3, 2012

NOTES – New Buildings for ShakespearePosted on March 2, 2012 by Jay | Leave a comment

New Buildings for ShakespeareModerator: Ralph Cohen – American Shakespeare CenterPanelists: Jerzy Limon – Gdansk Shakespeare Theatre;Mauro Maya and Aimara Resende – Instituto Gandarela;Neil Constable – Shakespeare’s GlobeFriday, March 2, 2012, 4:20pm-5:30pm

Session Summary: Three international companies talked about their plans to build new and exciting venuesfor the exploration of Shakespeare: A Globe Theatre in Bela Horzonte, Brazil; a Fortune Theatre in Gdansk,Poland; and a 17th Century indoor theatre is being built in London.

Notes:

-BRAZIL- Instituto Gandarela building a Globe Theatre.-Slideshow concerning the beautiful landscape of the country.-Rio Acima bear Bela Horizonte is the site due to beauty and similarity to the London Globe area, location tohistorical cities, and tourism.-VALE, a mining company donated the land.-The goal is to create a whole Cultural Complex, not just a theatre.-The Cultural Complex will enrich the lives of poor residents through education and artistic endeavors, as well asbetter social conditions, fostering international activities, teacher training, ecological development. Acollaboration agreement will be signed on March 6th between the UK and Brazil. Tourist guides, schoolteachers,and other jobs will arise from this enterprise. It will be enhanced by the 2012 World Cup, 2016 Olympic Games,and is the best time to do this.-The root between London and Brazil: Storytelling, folk dances, communal season representations.-The Complex will establish a “Globe Education Academy” for international cultural exchange, as well asShakespeare Festival. It will be a celebration of Shakespeare in multiple languages.-Peter MCurdy, Jon Greenfield are major supporters.-Complex will open April 23rd, 2012

SPONSORS STRATEGY:1. Build and Upkeep-Petrobras, Vale, and BNDES are sponsors.2. Infrastructure Build and Upkeep leads to environment, education, culture, tourism, ministries, and linkingthem to the GOVERNMENT, federal, state, and city.




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3. SPONSORSHIPS-Uniliver, Brasil, Anglo Gold-he hasn’t officially signed a contract yet.

-POLAND, Gdansk-Indoor Jacobean Theatre, now being built, should open next year.-Historically, royal patronage supports their theatre, currently by Prince of Wales.-Activity was done before theatre was built.-Video clips of shows done in Gdansk, performances by Wooster Group, they have six different venues forperformances. Two years ago, they opened a Blackbox that opens into the street for summer shows. Theatre,music, performance art, body art, even construction of buildings is turned into theatre.-Original theatre has three galleries for spectators, performances from 1630s-1660s, new theatre is being builtnear the site of the original.-Theatre looks like a Gothic church from the outside. Made of bricks, copper, red and green.The space can be a box, Italian stage, or thrust, and is interchangeable within a matter of minutes. There arewooden galleries.-Photos shown of the technologically difficult construction, opening of theatre should be September of 2013.

Neil Constable, GLOBEShakespeare’s Globe-Ambition is to provide year-round performance, and to complete the interior of the indoortheatre, on the Globe site. They want to create an indoor theatre “which Shakespeare might have recognized”.-The Jacobean Theatre is based on designs by architect John Webb, 350 seats, is in a U-Shape.-Plans for a 24 week Winter Season of four plays from October to April, complementing the Globe’s regularseason.-Considering accommodation for audience comfort, disability access, two galleries wrap around the stage,seating 140 each, and a pit seating 60. Intimate space, close audiences, direct address going to be used. Theperformances will be lit by candlelight, experiments with lighting and acoustics to be authentic to the experienceof the plays.-AUTHENTICITY is key, much architectural research. Experiments with candlelight performances at Colleges toprepare for the theatre. The effect of daylight in night performances is being worked out.-Simple Jacobean screens will be used. No over decoration. Sight lines will be challenging. Right experience,right price. Audience will be totally wrapped around stage.-The cost is 7 million, they have raised 5.6 million. Construction to begin in October, completion November2013.-Current Foyer-reconstruction where buildings will be linked by a mutual space.-Cleaning up front of building, lightening it up, glass front to showcase inside.-Anonymous donor stipulation: it will be called Sam Wannamaker Theatre.

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This entry was posted in Main Conference, Session Notes and tagged American Shakespeare Center, Brazil,London, Poland, Rio Acima, Shakespeare, Shakespeare's Globe, William Shakespeare. Bookmark the permalink.




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