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158 - The Tempest 4.1

from Part XVI - Making the Scene

Published online by Cambridge University Press:  17 August 2019

By
Krystyna Kujawińska
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

audience responsecommunismdemocracyEuropean UnionforgivenessHolocausthuman failingsideologyJewsKott, Janmasquenational identitynational memoryPolish theaterroliticsRealpolitikreconciliationShakespeare in PolandThe Tempestwedding
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1176 - 1182
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Kott, Jan. The Bottom Translation: Marlowe and Shakespeare and the Carnival Tradition. Trans. Międzyrzecka, Daniela and Vallee, Lillian. Evanston: Northwestern UP, 1987.Google Scholar
Kujawińska Courtney, Krystyna. “Krystyna Skuszanka’s Shakespeare of Political Allusions and Metaphors in Communist Poland.” Shakespeare in the Worlds of Communism and Socialism. Ed. Makaryk, Irena R. and Price, Joseph. Toronto: U of Toronto P, 2006. 228–45.CrossRefGoogle Scholar
Niziołek, Grzegorz. “The Music of the Audience.” Trans. Borowski, Tadeusz. Polski Szekspir Współczesny. “Burza.” Reżyseria Krzysztof Warlikowski. Wrocław: Polskie Wydawnictwo Audiowizualne, Wydanie do DVD, 2008. 16–22.Google Scholar
Pawłowski, Roman. “Jak sztuka w kapitalizmie” [What Kind of Play in a Capitalist System]. Gazeta Wyborcza 287 (8 December 2007). e-teatr.pl. Accessed November 2011.Google Scholar
Sellar, Tom. “Copernican Discoveries” (interviews with Zbigniew Brzoza, Agnieszka Glińska, Grzegorz Jarzyna, Jarosław Kilian, and Krzysztof Warlikowski). Theater 33 (2003): 20–35.Google Scholar
Young, David. The Heart’s Forest: A Study of Shakespeare’s Pastoral Plays. New Haven: Yale UP, 1972.Google Scholar

Further reading

Fabiszak, Jacek, and Brzozowska, Natalia. “Magic Storms on Polish Television: The Case of The Tempest.” Shakespeare Bulletin 29 (2011): 359–69.CrossRefGoogle Scholar
Kujawińska Courtney, Krystyna. “Shakespeare in Poland.” Shakespeare around the Globe. Ed. Best, Michael. 2006. http://ise.uvic.ca/Library/Criticism/shakespearein/index.html.Google Scholar
Kujawińska Courtney, Krystyna, ed. Polska Bibliografia Szekspirowska, 1980–2000 [Polish Shakespeare Bibliography]. Wrocław: Zakład Narodowy im. Ossolińskich and Uniwersytet Łódzki, 2005.Google Scholar
Kujawińska Courtney, Krystyna, and Williams, Katarzyna Kwapisz. “‘The Polish Prince’: Studies in Cultural Appropriation of Shakespeare’s ‘Hamlet’ in Poland.” 2009. http://hamletworks.org.Google Scholar
Łubieniewska, Ewa, et al., eds. Szekspir wśród znaków kultury polskiej [Shakespeare among the Signs of Polish Culture]. Kraków: Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, 2012.Google Scholar
Mościcki, Tomasz. “Burzliwy sezon” [Stormy Season]. Odra 7/8 (2003). e-teatr.pl. Accessed December 2011.Google Scholar
Niziołek, Krzysztof. Warlikowski Extra Ecclesiam. Kraków: Wydawnictwo Homini SC, 2008.Google Scholar
Sakowska, Aleksandra. “No ‘Happy Wrecks’ – Pessimism and Suffering in Krzysztof Warlikowski’s Adaptation of The Tempest by William Shakespeare.” Shakespeare Bulletin 29 (2011): 327–38.CrossRefGoogle Scholar
Węgrzyniak, Rafał. “Gruba kreska Prospera” [Prospero’s Justice]. Odra 4 (2003). e-teatr.pl. Accessed December 2011.Google Scholar
In addition to the works just listed, Notatnik teatralny 62/63 (2011) is thematically devoted to Krzysztof Warlikowski. There are interviews with Warlikowski, interviews with his colleagues and with members of his ensemble, and critical essays devoted to his theatrical productions. These include, among others, his Merchant of Venice, 1994; The Winter’s Tale, 1999; Hamlet, 1997 and 1999; The Taming of the Shrew, 1997; Pericles, 1998; The Tempest, 2000 and 2003; A Midsummer Night’s Dream, 2003; Macbeth, 2004; and African Stories, based on Shakespeare’s King Lear, The Merchant of Venice, and Othello, with fragments of Sound of Ice by Cleaver, Eldridge and Summer by Coetzee, John Maxwell, 2011.Google Scholar

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