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• W4205129768 abstract "century'. The second covers the 'relationship of Shakespeare to the traditional formsofJapanese theatre'(p. Io), the highlightof which is an Englishtranslationof YasunaruTakahashi'sTheBraggart Samurai, a Kyogen adaptationof TheMerryWives of Windsor. The thirdpart, an account of Robert Hapgood's theatricalexperiences inJapan, feels miscellaneouslyincluded;it offersonly random insights,and is often self-preoccupied and culturally at odds with its material. It is followed by a necessarily selective, but none the less indispensable, 'chronology of Japanese Shakespearefrom 886 to 1994'(P. II). I suspectthat many of these essayswilllong remain classic texts. But perhaps the exclusion of any discussion of Japanese film mediationsof Shakespearewas an unnecessarilylimitingeditorialmove? KYUSHU UNIVERSITY, JAPAN PETER RAWLINGS Shakespearean Illuminations: EssaysinHonorofMarvinRosenberg. Ed. ByJAYL. HALIO and HUGHRICHMOND.Cranbury, NJ: University of Delaware Press; London: AssociatedUniversityPresses. I998. 371 pp. ?45. The Festschrift is a curious beast: unlike most collections of academic essays, what unites its contributors is not necessarily the subject of those essays, but their admiration for a colleague, to whom the volume is offered as a tribute. Like its sportingequivalent, the football testimonial, you can usuallyjudge the importance of its recipientby the eminence of those who turn out to do their stufffor her/him, so a glance at the listof the contributorsto thisbook (whichis editedbyJay L. Halio and Hugh Richmond and includes pieces byJohn F. Andrews, Maurice Charney, Stephen Booth, and John Russell Brown) should tell us that Rosenberg is an importantand influentialShakespeareancritic.Bestknownfor hisworkon the four great tragedies, he was one of the pioneers in a field that has now become very crowded:the analysisof Shakespearein performance.When he made his name with TheMasksof Othello in I961, the tendency in Shakespearecriticism,stilldominated by the legacyofA. C. Bradley'sShakespearean Tragedy (1904),wasto read Shakespeare as a novelist. Even a critic such as Harley Granville-Barker,who was very much concerned with how to perform the plays, generally had little recourse either to their stage history,or to contemporaryproductions.Rosenberg, on the other hand, sawthe limitationsof suchabstractdiscussionsandgroundedhis analysesin detailed consideration of actual performances, past and present, while at the same time sensitivelypaying attention to the plays' formal qualities. More recently, his work on the constructionof personalityin Shakespeare,andin particularhisdevelopment of the concept of polyphony, has been takenup by a youngergenerationof scholars. As one might expect, then, many of the essays here pay tribute to Rosenberg implicitly,not merelyby the factof theirinclusion,butby virtueofthe Rosenbergian approach they take to their material (the three sections of the book, 'The Major Tragedies', 'Language,Politicsand History',and 'Actorsand Acting, Directing and Staging', each reflect one of Rosenberg's main areas of interest).Indeed, many of them explicitlyinvokehis name, and respectfully,but not over-reverentially,discuss hiswork.Yet,if thiscollection accuratelyreflectsRosenberg'slegacy as a critic,then that legacy seems to me to be a mixed one. Certainly, there are some fine pieces here (I particularly enjoyed Stephen Booth's witty, acute reflections 'On the Aestheticsof Acting' and PhilipC. McGuire'sessayon the stagingof the final scene of Othello), but there are also one or two rather turgid investigations of textual variants (an area into which Rosenberg ventures more pragmatically),as well as severalpieces that, while ostensiblypursuingRosenberg'sinterestin the particulars of Shakespeare'sdramaturgy,are little more than anecdotal accounts, or glorified century'. The second covers the 'relationship of Shakespeare to the traditional formsofJapanese theatre'(p. Io), the highlightof which is an Englishtranslationof YasunaruTakahashi'sTheBraggart Samurai, a Kyogen adaptationof TheMerryWives of Windsor. The thirdpart, an account of Robert Hapgood's theatricalexperiences inJapan, feels miscellaneouslyincluded;it offersonly random insights,and is often self-preoccupied and culturally at odds with its material. It is followed by a necessarily selective, but none the less indispensable, 'chronology of Japanese Shakespearefrom 886 to 1994'(P. II). I suspectthat many of these essayswilllong remain classic texts. But perhaps the exclusion of any discussion of Japanese film mediationsof Shakespearewas an unnecessarilylimitingeditorialmove? KYUSHU UNIVERSITY, JAPAN PETER RAWLINGS Shakespearean Illuminations: EssaysinHonorofMarvinRosenberg. Ed. ByJAYL. HALIO and HUGHRICHMOND.Cranbury, NJ: University of Delaware Press; London: AssociatedUniversityPresses. I998. 371 pp. ?45. The Festschrift is a curious beast: unlike most collections of academic essays, what unites its contributors is not necessarily the subject of those essays, but their admiration for a colleague, to whom the volume is offered as a tribute. Like its..." @default.
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• W4205129768 date "2002-01-01" @default.
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• W4205129768 title "Shakespearean Illuminations: Essays in Honor of Marvin Rosenberg by Jay L. Halio, Hugh Richmond" @default.
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