Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before
The Edinburgh Festival Fringe has thousands of shows every year and dozens of Shakespeare productions among them. To stand out in the saturated festival market, Shakespeare productions emphasise their popular appeal, rebranding Shakespeare as a simultaneously familiar and, at the same time, new prod...
| Autor: | |
|---|---|
| Tipo de documento: | artigo |
| Data de publicação: | 2022 |
| País: | España |
| Recursos: | Universidad Nacional de Educación a Distancia |
| Repositório: | e-spacio. Repositorio Institucional de la UNED |
| Idioma: | inglês |
| OAI Identifier: | oai:e-spacio.uned.es:20.500.14468/24639 |
| Acesso em linha: | https://hdl.handle.net/20.500.14468/24639 |
| Access Level: | Acceso aberto |
| Palavra-chave: | 57 Lingüística theatre festival Edinburgh Festival Fringe popular culture adaptation parody appropriation festival de teatro Festival Fringe de Edimburgo cultura popular adaptación parodia apropiación |
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Fringe Shakespeare: Shakespeare as You’ve Never Seen It BeforeFringe Shakespeare: Shakespeare como no lo habías visto nunca antesGuerrero Llorente, Isabel57 Lingüísticatheatre festivalEdinburgh Festival Fringepopular cultureadaptationparodyappropriationfestival de teatroFestival Fringe de Edimburgocultura popularadaptaciónparodiaapropiaciónThe Edinburgh Festival Fringe has thousands of shows every year and dozens of Shakespeare productions among them. To stand out in the saturated festival market, Shakespeare productions emphasise their popular appeal, rebranding Shakespeare as a simultaneously familiar and, at the same time, new product. The neoliberal market conditions of the festival impose a series of limitations and, consequently, Shakespeare productions need to adjust to time and space restrictions and reduce their casts and sets. Shakespeare productions, therefore, negotiate these constraints in order to attract an audience, a tension that has given rise to specific theatrical approaches to Shakespeare in performance. The main objective of this article is therefore to provide an understanding of Fringe Shakespeare, that is, the theatrical events featuring Shakespeare in performance at the Edinburgh Fringe whose distinctive characteristics are determined by the festival context. To do so, the first part of the article reviews the concept of fringe theatre, examines the tension between innovation and material constraints and explores the reasons why so many companies decide to stage Shakespeare at the Edinburgh Fringe. The second part examines the performing trends in Fringe Shakespeare: appropriations, solo shows, new writing, adaptations into unusual genres and parodies. This will shed light on Fringe Shakespeare and its definition as a theatrical event in the first decades of the twenty-first century.El festival Fringe de Edimburgo acoge en cada edición miles de espectáculos, entre los que se suelen incluir varias docenas de obras de Shakespeare. Para destacar en la vorágine de espectáculos, los montajes de Shakespeare se presentan como un producto familiar a la par que novedoso. Las condiciones de libre mercado del festival imponen una serie de limitaciones que obligan a las compañías a ajustarse a restricciones de tiempo y espacio, además de reducir elencos y escenografías. Las obras de Shakespeare negocian con estas limitaciones para atraer al público, lo que ha dado lugar a ciertas tendencias recurrentes en la escena. Este artículo tiene como objeto explorar la representación de Shakespeare en el festival Fringe de Edimburgo a partir de las características propias que distinguen a este festival de otros contextos de representación y producción. Para ello, la primera parte revisa el concepto de teatro fringe, examina la tensión existente entre innovación y limitaciones materiales e indaga en las razones que llevan a multitud de artistas a representar las obras de Shakespeare en el festival. La segunda parte examina las corrientes existentes en la representación de Shakespeare en el Fringe: apropiaciones, espectáculos de un solo actor, textos de nueva creación, adaptaciones en géneros poco habituales y parodias. Esto sentará las bases para definir el término de Fringe Shakespeare, descrito como los acontecimientos teatrales donde aparece la obra de Shakespeare en el contexto del festival durante las primeras décadas del siglo XXI.Spanish Association of English Studies. Asociación Española de Estudios Anglo-Norteamericanos (AEDEAN)e-Spacio UNED20242024-12-0220222022-06-2920222022-06-29journal articlehttp://purl.org/coar/resource_type/c_6501info:eu-repo/semantics/articleapplication/pdfhttps://hdl.handle.net/20.500.14468/24639reponame:e-spacio. Repositorio Institucional de la UNEDinstname:Universidad Nacional de Educación a DistanciaInglésengopen accesshttp://purl.org/coar/access_right/c_abf2info:eu-repo/semantics/openAccesshttp://creativecommons.org/licenses/by-nc-sa/4.0/deed.esoai:e-spacio.uned.es:20.500.14468/246392026-06-06T12:38:31Z |
| dc.title.none.fl_str_mv |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before Fringe Shakespeare: Shakespeare como no lo habías visto nunca antes |
| title |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before |
| spellingShingle |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before Guerrero Llorente, Isabel 57 Lingüística theatre festival Edinburgh Festival Fringe popular culture adaptation parody appropriation festival de teatro Festival Fringe de Edimburgo cultura popular adaptación parodia apropiación |
| title_short |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before |
| title_full |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before |
| title_fullStr |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before |
| title_full_unstemmed |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before |
| title_sort |
Fringe Shakespeare: Shakespeare as You’ve Never Seen It Before |
| dc.creator.none.fl_str_mv |
Guerrero Llorente, Isabel |
| author |
Guerrero Llorente, Isabel |
| author_facet |
Guerrero Llorente, Isabel |
| author_role |
author |
| dc.contributor.none.fl_str_mv |
e-Spacio UNED |
| dc.subject.none.fl_str_mv |
57 Lingüística theatre festival Edinburgh Festival Fringe popular culture adaptation parody appropriation festival de teatro Festival Fringe de Edimburgo cultura popular adaptación parodia apropiación |
| topic |
57 Lingüística theatre festival Edinburgh Festival Fringe popular culture adaptation parody appropriation festival de teatro Festival Fringe de Edimburgo cultura popular adaptación parodia apropiación |
| description |
The Edinburgh Festival Fringe has thousands of shows every year and dozens of Shakespeare productions among them. To stand out in the saturated festival market, Shakespeare productions emphasise their popular appeal, rebranding Shakespeare as a simultaneously familiar and, at the same time, new product. The neoliberal market conditions of the festival impose a series of limitations and, consequently, Shakespeare productions need to adjust to time and space restrictions and reduce their casts and sets. Shakespeare productions, therefore, negotiate these constraints in order to attract an audience, a tension that has given rise to specific theatrical approaches to Shakespeare in performance. The main objective of this article is therefore to provide an understanding of Fringe Shakespeare, that is, the theatrical events featuring Shakespeare in performance at the Edinburgh Fringe whose distinctive characteristics are determined by the festival context. To do so, the first part of the article reviews the concept of fringe theatre, examines the tension between innovation and material constraints and explores the reasons why so many companies decide to stage Shakespeare at the Edinburgh Fringe. The second part examines the performing trends in Fringe Shakespeare: appropriations, solo shows, new writing, adaptations into unusual genres and parodies. This will shed light on Fringe Shakespeare and its definition as a theatrical event in the first decades of the twenty-first century. |
| publishDate |
2022 |
| dc.date.none.fl_str_mv |
2022 2022-06-29 2022 2022-06-29 2024 2024-12-02 |
| dc.type.none.fl_str_mv |
journal article http://purl.org/coar/resource_type/c_6501 |
| dc.type.openaire.fl_str_mv |
info:eu-repo/semantics/article |
| format |
article |
| dc.identifier.none.fl_str_mv |
https://hdl.handle.net/20.500.14468/24639 |
| url |
https://hdl.handle.net/20.500.14468/24639 |
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Inglés eng |
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Inglés |
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eng |
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open access http://purl.org/coar/access_right/c_abf2 info:eu-repo/semantics/openAccess http://creativecommons.org/licenses/by-nc-sa/4.0/deed.es |
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open access http://purl.org/coar/access_right/c_abf2 http://creativecommons.org/licenses/by-nc-sa/4.0/deed.es |
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openAccess |
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application/pdf |
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Spanish Association of English Studies. Asociación Española de Estudios Anglo-Norteamericanos (AEDEAN) |
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Spanish Association of English Studies. Asociación Española de Estudios Anglo-Norteamericanos (AEDEAN) |
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reponame:e-spacio. Repositorio Institucional de la UNED instname:Universidad Nacional de Educación a Distancia |
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Universidad Nacional de Educación a Distancia |
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e-spacio. Repositorio Institucional de la UNED |
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e-spacio. Repositorio Institucional de la UNED |
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