As a contribution to the discussion of Shakespeare’s “appropriability” (Stanley Cavell), this paper examines some aspects of the cultural position of Hamlet on the Jacobean entertainment market, as they are indicated in Ben Jonson’s comedy Bartholomew Fair (1614). The metatheatrical features of Bartholomew Fair may be said to measure the play’s resistance against appropriating the unique and problematic aspects of Hamlet, such as the Ghost or The Mousetrap. These are deconstructed in Jonson’s comedy, which anticipates the Enlightenment views of the social functioning of theatre as a “moral institution”.
One of the issues theatre must deal with when approaching the topic of genocide is representation. How can theatre, an art of mimesis, represent extreme violence, absolute evil? What can be shown, so as to honour the memory of the victims and at the same time convey the idea of radical evil? At the turn of the 21st century, two playwrights, Enzo Cormann (France) and Juan Mayorga (Spain) approached the issue of the Holocaust through memory. In Toujours l’orage [Always the Storm](1997) and respectively Himmelweg [Way to heaven] (2002) the protagonists revisit, after several decades, the traumatic events of 1944, when they witnessed or participated in the perversion of life and theatre by the Nazi. This paper will analyse the modalities of the memorial mechanism, among which the metatheatrical devices facilitating the representation of the traumatic event.
project is complemented with extraordinary
features, a dramatic monologue (sometimes metatheatrical, on the coordinates
of the scenic illusion), choreographic moments, spontaneous interventions as
in a talk show, grotesque and infantile mimics of characters, alternating with
moments of exaggerated sexuality. Not by chance, Ibsen’s text is modeled on
the interpretative act, often diverted from its solemn intentionality, deciding
willingly in a Hollywood cliché, in a TV series parody, to deconstruct the
inherent tension of the
innocent aspect which could be easily paralleled to Miranda’s.
Taken as a whole, La Tempesta. Pre-testi achieved its main purpose to re-read the
play’s pervasive concern with theatricality, which was specifically investigated in
conjunction with some stock situations of the Italian improvised comedy. In particular, it
may be argued that this mise en scène functioned on two levels, which involved both
metadramatic and intercultural references. The use of two “stages” heightened the
metatheatrical framework of The Tempest itself, while concurrently