Restoring Shakespeare, Adapting Tate, Killing off Garrick :
Staging King Lear on the Post-Restoration London Stages

k 2019

Restoring Shakespeare, Adapting Tate, Killing off Garrick : Staging King Lear on the Post-Restoration London Stages

KRAJNÍK, Filip

Základní údaje

Originální název

Restoring Shakespeare, Adapting Tate, Killing off Garrick : Staging King Lear on the Post-Restoration London Stages

Autoři

KRAJNÍK, Filip (203 Česká republika, garant, domácí)

Vydání

European Shakespeare Research Association Conference : Shakespeare and European Geographies: Centralities and Elsewheres, Rome, 9-12 July, 2019, 2019

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

60206 Specific literatures

Stát vydavatele

Itálie

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL

Kód RIV

RIV/00216224:14210/19:00108040

Organizační jednotka

Filozofická fakulta

Klíčová slova anglicky

William shakespeare; King Lear; Restoration theatre; adaptation; George Colman; David Garrick; John Philip Kemble

Štítky

rivok

Příznaky

Mezinárodní význam, Recenzováno

Změněno: 1. 4. 2020 11:55, Mgr. Marie Skřivanová

Anotace

V originále

Before William Macready’s 1838 production of King Lear at Covent Garden, the one usually credited for being the true revival of Shakespeare’s text after the more than 150-year hegemony of Nahum Tate’s Restoration version of the play, there had been at least three major attempts to restore Shakespeare’s original text for London audiences, namely David Garrick’s (1756), George Colman’s (1768), and John Philip Kemble’s (1792), none of which, however, survived its producer. In their adaptive efforts, these three great theatre practitioners of their time strove to find the right balance between Renaissance and Restoration aesthetics in order to bring the play into the post-Restoration epoch. Analysing these hybrid versions (that is, adaptations of adaptations) of Shakespeare’s play, it could be easily argued that, despite remaining within the same country and the same city, by the late 18th century, Shakespeare’s text had seen three distinct cultural epochs that influenced the play’s shape and reception. Another major factor, however, that played an important role in shaping King Lear for 18th-century audiences were the personal relationships, animosities and ambitions of the adapters. While the relationship between Colman and Garrick has been thoroughly described (see, for instance, Cunningham’s Shakespeare and Garrick), it has never been satisfactorily explained why Kemble decided to commit, in George C. D. Odell’s words, an “act of vandalism” and reject Garrick’s successful version, replacing it with his own, based largely on the (by then) old-fashioned Tate. The proposal of my paper is that young Kemble first needed to kill off the legacy of his more famous (and arguably more competent) predecessor in order to take over the position of the iconic Shakespearean actor of his generation. Besides the changing aesthetics of the London audiences and the rising cult of Shakespeare in the period, it was, thus, also the cult of actors and directors of the 18th century that, in at least equal measure, contributed to King Lear’s textual and staging traditions, some of whose elements survive even nowadays.

Návaznosti

GA19-07494S, projekt VaV

Název: Anglická divadelní kultura 1660-1737

Investor: Grantová agentura ČR, Anglická divadelní kultura 1660-1737

Citovat

KRAJNÍK, Filip. Restoring Shakespeare, Adapting Tate, Killing off Garrick : Staging King Lear on the Post-Restoration London Stages. In European Shakespeare Research Association Conference : Shakespeare and European Geographies: Centralities and Elsewheres, Rome, 9-12 July, 2019. 2019.

@proceedings{1604436,
   author = {Krajník, Filip},
   booktitle = {European Shakespeare Research Association Conference : Shakespeare and European Geographies: Centralities and Elsewheres, Rome, 9-12 July, 2019},
   keywords = {William shakespeare; King Lear; Restoration theatre; adaptation; George Colman; David Garrick; John Philip Kemble},
   language = {eng},
   title = {Restoring Shakespeare, Adapting Tate, Killing off Garrick : Staging King Lear on the Post-Restoration London Stages},
   url = {http://esra2019.it/},
   year = {2019}
}

TY  - CONF
ID  - 1604436
AU  - Krajník, Filip
PY  - 2019
TI  - Restoring Shakespeare, Adapting Tate, Killing off Garrick : Staging King Lear on the Post-Restoration London Stages
KW  - William shakespeare
KW  - King Lear
KW  - Restoration theatre
KW  - adaptation
KW  - George Colman
KW  - David Garrick
KW  - John Philip Kemble
UR  - http://esra2019.it/
L2  - http://esra2019.it/
N2  - Before William Macready’s 1838 production of King Lear at Covent Garden, the one usually credited for being the true revival of Shakespeare’s text after the more than 150-year hegemony of Nahum Tate’s Restoration version of the play, there had been at least three major attempts to restore Shakespeare’s original text for London audiences, namely David Garrick’s (1756), George Colman’s (1768), and John Philip Kemble’s (1792), none of which, however, survived its producer. In their adaptive efforts, these three great theatre practitioners of their time strove to find the right balance between Renaissance and Restoration aesthetics in order to bring the play into the post-Restoration epoch. Analysing these hybrid versions (that is, adaptations of adaptations) of Shakespeare’s play, it could be easily argued that, despite remaining within the same country and the same city, by the late 18th century, Shakespeare’s text had seen three distinct cultural epochs that influenced the play’s shape and reception. Another major factor, however, that played an important role in shaping King Lear for 18th-century audiences were the personal relationships, animosities and ambitions of the adapters. While the relationship between Colman and Garrick has been thoroughly described (see, for instance, Cunningham’s Shakespeare and Garrick), it has never been satisfactorily explained why Kemble decided to commit, in George C. D. Odell’s words, an “act of vandalism” and reject Garrick’s successful version, replacing it with his own, based largely on the (by then) old-fashioned Tate. The proposal of my paper is that young Kemble first needed to kill off the legacy of his more famous (and arguably more competent) predecessor in order to take over the position of the iconic Shakespearean actor of his generation. Besides the changing aesthetics of the London audiences and the rising cult of Shakespeare in the period, it was, thus, also the cult of actors and directors of the 18th century that, in at least equal measure, contributed to King Lear’s textual and staging traditions, some of whose elements survive even nowadays.
ER  -

KRAJNÍK, Filip. Restoring Shakespeare, Adapting Tate, Killing off Garrick : Staging King Lear on the Post-Restoration London Stages. In \textit{European Shakespeare Research Association Conference : Shakespeare and European Geographies: Centralities and Elsewheres, Rome, 9-12 July, 2019}. 2019.

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