Passion and Politics in Diego de Brea and Jakub Čermák’s "Edward II" : Marlowe’s Controversial History on Czech Stages
| Autoři | |
|---|---|
| Rok publikování | 2023 |
| Druh | Článek v odborném periodiku |
| Časopis / Zdroj | Multicultural Shakespeare: Translation, Appropriation and Performance |
| Fakulta / Pracoviště MU | |
| Citace | |
| www | Plný text článku. |
| Doi | http://dx.doi.org/10.18778/2083-8530.28.12 |
| Klíčová slova | Christopher Marlowe; Edward II; Czech Republic; Slovenia; Diego de Brea; Jakub Čermák; Elizabethan theatre; LGBT theatre; queer theatre |
| Popis | The present article outlines the stage history of Christopher Marlowe’s history Edward II on Czech stages, focusing chiefly on how the respective directors approached the titular character of Marlowe’s play and his sexuality. The study focuses on two post-2000 productions of the play: Diego de Brea’s Edvard Drugy for the Slovenian National Theatre, which toured to the 16th “Divadlo” International Theatre Festival in Pilsen, West Bohemia, in 2008; and Jakub Čermák’s production of Edvard II. for the independent Czech theatre company “Depresivní děti touží po penězích” (Depressive Children Yearn for Money) that premiered in 2023 in Prague. Since for both Czechs and Slovenians, King Edward II is a minor figure of English history and Elizabethan history plays are generally less appealing to them than other genres, both the directors sideline the political dimension of the story to fully explore the issue of social and sexual norms and relate it to current social and cultural discussions both in the West and the former Eastern Bloc. Stressing the motif of social and sexual otherness even more bravely than most recent Western productions, de Brea and Čermák offered not only valuable contributions to both local and global reception of Marlowe’s Edward II, but also raised the visibility of LGBT theatre in a region where it has only a modest history and tradition. |
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