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Shylock and the Nazis

Continuation or Reinvention?

Alessandra Bassey

article claimed that ‘Werner Krauss would be portraying a Shylock that broke with the performance traditions of the past 50 years’, that the director Lothar Müthel would transform the performance into a fairy-tale-like, enchanting comedy, and that Antonio

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Jonathan Elukin

After more than four centuries, Shylock remains an enigma. He can be seen, of course, as the incarnation of traditional Christian ideas about the viciousness of Jews and Judaism. However, he also comes to life as the tormented victim of Christian

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Wrestling with Shylock

Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice

Jeanette R. Malkin and Eckart Voigts

British literature: Shakespeare’s Shylock. Some of the answers we received were surprising, even moving; as indicated in the material below, it seems that many English Jews take this comi-tragic late-sixteenth-century figure much more personally than we

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The Word of the Lord to Shylock

Biblical Forms in the Translations of Shakespeare’s The Merchant of Venice to Hebrew

Atar Hadari

Shylock is presented by Shakespeare as a merchant in the context of a community of merchants, whose days are consumed with financial affairs and not prophetic messages. There is, however, a tradition of interpretation of Shylock’s character that

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Shylock in Buchenwald

Hanan Snir’s Israeli-German Production (Weimar 1995)

Gad Kaynar-Kissinger

Shylock as a touchstone: The Merchant of Venice on the German stage From the Enlightenment to our own day, German-language productions of The Merchant of Venice have reflected the always problematic state of German-Jewish relations. All German

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The Merchant ON Venice [Boulevard, Los Angeles], Chicago, 2007

Universalizing Shakespeare’s Play after the Holocaust

Michael Shapiro

Shylocks established in the nineteenth century,(2) decentring Shylock by enlarging Jessica’s role, (3) resetting the play in a specific period of Jewish history, especially during or after the Holocaust, and (4) universalizing the play by mapping the

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Thomas Luk

pro-Semitic perspective: Shylock is a cultured, religious man, a bosom friend of the Venetian merchant Antonio, and enters into a contract only because of the city law, agreed to by Antonio by having a pound of flesh as security to mock it. Nowadays

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Deproblematizing The Merchant of Venice

Text, and Pretexts for Changing Subtext

Roger Wooster

Merchant work through reinterpretation within the text. If we accept the legitimacy of this approach, however, then what of those who might wish to misuse such techniques to create anti-humanitarian theatre? Shylock’s famous lines (3.1.46–64) 2 arguing

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A Hebrew Take on Shylock on the New York Stage

Shylock ‘47 at the Pargod Theatre (1947)

Edna Nahshon

Shylock’47 , a production of the Pargod Theatre 1 , opened on 27 May 1947 in New York City at the Juilliard School of Music, with subsequent performances at the Masters Institute. Staged entirely in Hebrew, it was a bold and pioneering enterprise

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Shylock in the Cinema

Michael Radford’s The Merchant of Venice

Maria-Clara Versiani Galery

challenge of representing the Jew in the figure of Shylock is a chief concern, leading filmmakers to look for ‘more palatable plays’. 1 Orson Welles, for instance, encountered various difficulties, financial and otherwise, in completing the filmed