Verdi's Settings of Shakespeare : from Play to Liberetto to Opera

As a Senior Scholar pursuing the topic, Verdi's Settings of Shakespeare: From Play to Libretto to Opera, I have endeavoured to study a project relevant to my majors, Music and English. During first semester, I carefully analysed Shakespeare's plays, Macbeth, Othello and Falstaff. The highlight of my project was in January when I travelled to New York City and spent the day working with the Metropolitan Opera Guild. I was also able to see a performance of Verdi's Othello with Jon Vickers in the lead role. During the second semester, I studied the musical aspects of the compositions. I spent time analysing musical passages and relating them to the plays and the operas. I was also able to continue my study of Italian, which I find extremely beneficial while studying Verdi's libretti. On Monday, 13th May, 1974, I gave a lecture presentation of my project. At this time, I showed slides of Metropolitan productions of the operas, presented my own rendition of five arias (in costume) and talked about comparisions between the plays and the operas. I applied for a Rotary Fellowship to take my project to Europe and am presently waiting to hear the results. If I do receive the fellowship, I am planning to spend a year studying the plays and operas in England and Italy. Afterwards, I hope to publish a paper explaining my findings. The paper is divided into six sections. The first section is an introduction which explains the period of Romanticism and its relationship to Shakespeare and Verdi. The second section is devoted to discussing the librettist for Macbeth, Francesco Piave. Following this section the opera Macbeth is discussed. Arrigo Boito, the librettist for Otello and Falstaff is discussed in the fourth section. The last two sections deal with Otello and Falstaff. I have also included a number of musical selections to better explain certain passages. My project has been invaluable to me. My Senior Scholar project has allowed me the freedom of independent study as well as a means of tying my majors together.

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Borges y Shakespeare : una práctica comparatista

Fil: Leo de Belmont, Laura. Universidad Nacional de Cuyo. Facultad de Filosofía y Letras

Joseph Blanco White, traductor de Shakespeare en el contexto de la emancipación hispanoamericana

Joseph Blanco White fue uno de los primeros en traducir a Shakespeare al castellano y fue el primero en defender el valor de traducirlo. En España, la obra de Shakespeare era juzgada defectuosa por no cumplir con los requisitos neoclásicos de unidad y decoro; era vista, además, como emblema del poderío británico. Blanco White, por el contrario, defiende a Shakespeare como poeta-genio universal. Propone que todas sus obras, incluidas las dramáticas, deben ser traducidas y leídas como poesía lírica, lo cual para él implica que, a diferencia de una representación teatral, éstas poseen un alto grado de abstracción que las libera de toda atadura contextual. El presente artículo analiza estas ideas a la luz de las ataduras biográficas y culturales, no de Shakespeare, sino del mismo Blanco White. Su partida a Inglaterra en 1810 y el contexto multilingüe en el que trabajó lo han situado en los márgenes de la historia literaria española. Sin embargo, este artículo propone rescatar, desde un punto de vista comparatista, sus traducciones y algunos de sus aportes críticos, entre ellos, su visión de Shakespeare más allá de las rivalidades entre España e Inglaterra y su incorporación de un público hispanoamericano como interlocutor.

Shakespeare y los problemas del sujeto

El autor busca establecer relaciones estables entre definiciones estéticas del sujeto y definiciones políticas del sujeto en la Inglaterra temprano moderna. Hace esto tomando en cuenta, por un lado, las derivas experimentadas por el discurso del drama, por otro, considerando las sucesivas configuraciones del sujeto político a lo largo de todo el siglo XVI

Shakespeare y los problemas del sujeto

El autor busca establecer relaciones estables entre definiciones estéticas del sujeto y definiciones políticas del sujeto en la Inglaterra temprano moderna. Hace esto tomando en cuenta, por un lado, las derivas experimentadas por el discurso del drama, por otro, considerando las sucesivas configuraciones del sujeto político a lo largo de todo el siglo XVI

Oeuvres complètes de W. Shakespeare /

v. 1. 3. ed. 1873. v. 2-14. 2. ed. 1865-73. v. 15. 1865. Les Apocryphes. 2. ed. 1866-67.

On Shakespeare's Julius Caesar, especially with respect to historical truth ...

Jahresbericht--Louisenstädtische höhere stadtschule, Berlin.

Shakespeare's theater,

"Bibliographical notes": p. 445-460.