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Home :: Archive :: 1994 :: June ::
Qs: Nudity in Shakespearean Performance; Deaf
Shakespeare Electronic Conference, Vol. 5, No. 0485.  Thursday, 2 June 1994.
 
(1)     From:   Douglas M Lanier <
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        Date:   Wednesday, 1 Jun 1994 09:58:22 -0400 (EDT)
        Subj:   Nudity in Shakespearean Performance
 
(2)     From:   David Evett <R0870%
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        Date:   Wednesday,  01 Jun 1994 14:21 ET
        Subj:   Deaf Shakespeare
 
 
(1)----------------------------------------------------------------------------
From:           Douglas M Lanier <
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Date:           Wednesday, 1 Jun 1994 09:58:22 -0400 (EDT)
Subject:        Nudity in Shakespearean Performance
 
As part of a larger study of how the body is foregrounded in Shakespearean
performance, I'm interested in getting information about the use of nudity (or
partial nudity) in recent Shakespearean performances.  I've already included
Zeffirelli's *RJ*, Branagh's *Much Ado*, and Greenaway's *Prospero's Books*, as
well as Marowitz's *Hamlet* and the LePage *MND* at the National.  Other
examples I might include? I've not uncovered (ahem) any critical work on this
topic--have I missed something?  I would appreciate any information,
references, anecdotes. Just keep the Bottom jokes to a minimum.
 
Cheers,
Douglas Lanier
University of New Hampshire
 
(2)----------------------------------------------------------------------------
From:           David Evett <R0870%
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Date:           Wednesday,  01 Jun 1994 14:21 ET
Subject:        Deaf Shakespeare
 
A bright, resourceful, hard-working and very ambitious deaf student just
starting out in our graduate program wants to do a project on presentation of
Shakespeare texts to deaf audiences.  He's a sometime actor, and has had some
practical experience, signing <Wiv> at the Oregon Shakespeare Festival.  He
knows of no effort by any deaf company to perform Shakespeare, supposing that
they have been intimidated by the sheer verbal complexity of the texts.  I
heartened him, I think, my calling attention to things like the Marowitz
collage <Hamlet> and Fred Kurchack's one-man adaptations, and to such
translations across languages, cultures, and media as the Kurosawa films.  At
any rate, although the project may eventuate in a deaf performance of some
kind, we want to start in the usual scholarly way with a survey of the
published resources, and would be very grateful for networkers' suggestions,
not only about deaf Shakespeare per se, but relevant work in the semiotics of
drama and translation. Mere references can be sent directly to me; I can
imagine that some of you have ideas about it that would interest many
SHAKSPERians and should be sent to Hardy.
 
Dave Evett
 

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