{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2022,3,30]],"date-time":"2022-03-30T18:56:10Z","timestamp":1648666570020},"reference-count":15,"publisher":"Uniwersytet Lodzki (University of Lodz)","issue":"30","license":[{"start":{"date-parts":[[2017,6,30]],"date-time":"2017-06-30T00:00:00Z","timestamp":1498780800000},"content-version":"unspecified","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["MS"],"abstract":"<jats:p>This article addresses the key role of performance space in mediating between cultural locations. It discusses two Portuguese performances of Shakespeare where audiences were invited to become part of the performance and the ways in which this dehierarchization of the performance space framed a cross-cultural encounter between a globalized text and a localized performance context. In Teatro Oficina\u2019s 2012 King Lear, both audience and performers sat around a large table in a production which reflected upon questions of individual and collective responsibility in Shakespearean tragedy and in the wider political sphere. In the middle of this performance space hung a large cube onto which the translated text was projected, setting up a spatial tension between text and performance that also foregrounded the translocation of the Shakespearean text to a Portuguese performance context. In Tiago Rodrigues\u2019 2013 By Heart, ten members of the audience were invited onstage to learn Shakespeare\u2019s Sonnet 30 \u201cby heart and not by brain.\u201d1 In doing so, Rodrigues emphasized the cultural embeddedness of Shakespearean texts in a wider European cultural context and operated a subtle shift from texts to performance as a privileged repository for the cultural memory of Shakespeare. The article explores how these spatial shifts signaled the possibility of enabling cross-cultural identifications with Shakespeare through performance.<\/jats:p>","DOI":"10.1515\/mstap-2017-0003","type":"journal-article","created":{"date-parts":[[2017,10,9]],"date-time":"2017-10-09T10:04:04Z","timestamp":1507543444000},"page":"27-41","source":"Crossref","is-referenced-by-count":0,"title":["Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare"],"prefix":"10.18778","volume":"15","author":[{"given":"Francesca","family":"Rayner","sequence":"first","affiliation":[]}],"member":"8044","published-online":{"date-parts":[[2017,6,30]]},"reference":[{"key":"ref131","article-title":"Faultlines Cultural Materialism and the Politics of Dissident California University of California","author":"Sinfield","year":"1992"},{"key":"ref01","first-page":"1","article-title":"Beauty Consolation Episode NL thMay https www youtube com watch v Mv Aps Last accessed","volume":"22","author":"VPRO","year":"2011"},{"key":"ref21","first-page":"37","article-title":"Reflections on a Decade of Punchdrunk Theatre","author":"Eglinton","year":"2010"},{"key":"ref101","article-title":"By da de","author":"Rodrigues","year":"2016","journal-title":"Heart"},{"key":"ref111","article-title":"Sonnets New York University","author":"Stanley Wells","journal-title":"Shakespeare"},{"key":"ref121","article-title":"The Tragedy of Ed University","author":"William","year":"2005","journal-title":"Shakespeare"},{"key":"ref71","article-title":"The Spectator and the Spectacle Audiences in Modernity University","author":"Kennedy","year":"2009"},{"key":"ref81","article-title":"Kate and Kate Cultural Value in Twenty - first Century England the Case of Manchester University","author":"McLuskie","year":"2014","journal-title":"Shakespeare"},{"key":"ref41","article-title":"de","author":"Gra\u00e7a Moura","year":"2011","journal-title":"Shakespeare"},{"key":"ref151","article-title":"Villas Boas","author":"Fernando","year":"2016","journal-title":"Shakespeare"},{"key":"ref51","first-page":"191","article-title":"Grob One Cannot Act One Must be Hamlet The Acculturation of Hamlet in Space Theatrical Explorations of the Spatial Paradigm Ina Habermann and Michelle Basingstoke and New York Palgrave","author":"Thomas","year":"2016","journal-title":"Shakespeare"},{"key":"ref11","article-title":"Artificial Participatory Art the of New Verso","author":"Bishop","year":"2012","journal-title":"Politics"},{"key":"ref91","author":"Ranci\u00e8re","year":"2008"},{"key":"ref31","first-page":"43","article-title":"Pedestrian Theatre","author":"Gordon","year":"2012","journal-title":"Shakespeare Cahiers Elisabethains"},{"key":"ref61","article-title":"Collaborations with the Past Reshaping across Time and Media University","author":"Henderson","year":"2006","journal-title":"Shakespeare"}],"container-title":["Multicultural Shakespeare: Translation, Appropriation and Performance"],"original-title":[],"link":[{"URL":"https:\/\/content.sciendo.com\/view\/journals\/mstap\/15\/1\/article-p27.xml","content-type":"text\/html","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/czasopisma.uni.lodz.pl\/szekspir\/article\/download\/2273\/1924","content-type":"application\/pdf","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/czasopisma.uni.lodz.pl\/szekspir\/article\/download\/2273\/1924","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2021,12,8]],"date-time":"2021-12-08T17:49:59Z","timestamp":1638985799000},"score":1,"resource":{"primary":{"URL":"https:\/\/czasopisma.uni.lodz.pl\/szekspir\/article\/view\/2273"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2017,6,30]]},"references-count":15,"journal-issue":{"issue":"30","published-online":{"date-parts":[[2017,6,30]]}},"URL":"https:\/\/doi.org\/10.1515\/mstap-2017-0003","relation":{},"ISSN":["2300-7605","2083-8530"],"issn-type":[{"value":"2300-7605","type":"electronic"},{"value":"2083-8530","type":"print"}],"subject":[],"published":{"date-parts":[[2017,6,30]]}}}