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.
Reynaldo Hahn • Holocaust • Site specific performance • Memory • Adrian Beecham • Jews • Site-specific Shakespeare • Shakespeare’s trial scenes • Theatre design • Adaptation • Ciro Pinsuti • Music design • Otto Taubmann • Shakespeare’s comedies of love • Gratiano • Mock Appeal: Shylock v • Ruth Bader Ginsburg • Mock Trial: Shylock v • Humanities • The Merchant of Venice • George Braque and Shakespeare • Rehearsal • Bassanio • Charles and Mary Lamb • Antonio • Chromaticism • Heritage • Portia • Translation • Children reading Shakespeare • Music • The quality of mercy • Compagnia de’ Colombari • Karin Coonrod • Lighting design • Directing Shakespeare • Lorenzo • Designing Shakespeare • Fiction • Mercy • Performing Shakespeare • Jessica • Site-specific design • Narrativization • Aldo Finzi • Ghetto • History • Mario Castelnuovo-Tedesco • Josef B • Lewis Carroll • Laurence Olivier • Venice • Shylock • The Merchant in the Ghetto • Antisemitism • Opera • Site-specific performance • Costume design • Foerster • Children’s literature • The Merchant of Venice in the Ghetto • Murray Abraham • Lancelot Gobbo • F • Actors on Shakespeare • Aestheticism • Adapting Shakespeare