The Merchant in Venice: Shakespeare in the Ghetto
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abstract
This book records the landmark performance of The Merchant of Venice in the Venetian Ghetto in 2016, the 400th anniversary of Shakespeare’s death and the 500th anniversary of the Jewish quarter that gave the world the word ‘ghetto’. Practitioners and critics discuss how this multi-ethnic production and its radical choice to cast five actors as Shylock provided the opportunity to respond creatively to Europe’s legacy of antisemitism, racism and difference. They observe how the place and play stand as ambivalent documents of civilization: instruments of intolerance but also sites of cultural exchange.
Shakespeare’s comedies of love • Shakespeare’s trial scenes • Music design • Aldo Finzi • Gratiano • Adaptation • Adapting Shakespeare • Lighting design • Foerster • Karin Coonrod • Lancelot Gobbo • Lorenzo • Costume design • Children’s literature • History • Site-specific design • Site specific performance • Site-specific Shakespeare • Children reading Shakespeare • Lewis Carroll • Theatre design • Mock Appeal: Shylock v • Music • Ruth Bader Ginsburg • Designing Shakespeare • Opera • Site-specific performance • Aestheticism • Josef B • Translation • Adrian Beecham • Charles and Mary Lamb • Bassanio • Laurence Olivier • Jessica • The Merchant in the Ghetto • Reynaldo Hahn • Jews • The quality of mercy • The Merchant of Venice in the Ghetto • Portia • Venice • F • Narrativization • Rehearsal • Murray Abraham • Antisemitism • Otto Taubmann • Performing Shakespeare • Compagnia de’ Colombari • Ghetto • Antonio • Ciro Pinsuti • Actors on Shakespeare • Memory • Fiction • Shylock • The Merchant of Venice • Directing Shakespeare • Mario Castelnuovo-Tedesco • Chromaticism • Heritage • Mercy • Mock Trial: Shylock v • Holocaust • Humanities • George Braque and Shakespeare