April 2013 § Leave a comment
In the UK’s 2012 Cultural Olympiad, the Globe to Globe festival commissioned 37 international theatre companies to perform Shakespeare’s 37 plays in 37 languages on the Globe stage in London. Shakespeare’s text was not provided in translation; a screen giving scene summaries was the only aide to the audience of what was happening on stage. Following this, Iqbal Khan’s Much Ado About Nothing for the Royal Shakespeare Company assembled a British Asian cast speaking Shakespeare’s original text, in a production set in contemporary old-Delhi, which performed in Stratford upon Avon before transferring to London. Both are in contrast to Tim Supple’s 2006 Indian Midsummer Night’s Dream, which brought together all-Indian and Sri Lankan practitioners under an English director, used indigenous music, and attempted to faithfully translate the play into several Indian languages to accurately reflect both Shakespeare’s metre and a version of the multilingual reality of daily Indian urban life. No translation back to English was offered. This production toured across India and internationally. Finally, in India’s 2012 Bharat Rang Motsav, Suman Mukhopadhyay’s King Lear offered the play in performance in Bengali, while a screen above the proscenium provided line-by-line translation of the Bengali into the contemporary hybrid of Hindi and English: Hinglish.
My research considers whether Shakespeare’s text will cease to matter (and whether this matters itself) as audiences with no familiarity of the plays, watch them in languages they also don’t understand; languages ‘other’ to Shakespeare’s revered idiom. Examining how particular translations were effected, presented, and received reveals some of the underlying politics of perception and post-colonial anxiety that still surrounds cross-cultural approaches to Shakespeare and his work. In the alchemical space between original text and translation, and where text meets performance, such attitudes are challenged. My work draws on feminist and postcolonial theory and creative practice, and ultimately argues that as fresh linguistic and cultural understandings are formed, Shakespeare’s text itself is submerged and renewed; thus it might endure through endless permutations even as its importance seems to fall away. This presentation is part of my practice-based thesis on King Lear, which I read as a gendered and postcolonial text in order to interrogate both its place in India’s history, and paradigms of behaviour in India today.
Preti Taneja is a Visiting Lecturer and Doctoral researcher in Creative Writing at Royal Holloway, University of London, and Creative submissions editor of the online journal Exegesis. She is also a journalist and filmmaker specialising in human rights. Her campaigning documentaries from Kenya and Rwanda among other places can be seen on erafilms.co.uk. The award winning feature film ‘Verity’s Summer’ which deals with secrets surrounding British involvement in the torture of Iraqi detainees, is on general release in cinemas and online in 2013. veritys-summer.com
+ See Lear’s Indian Daughters: http://bloggingshakespeare.com/lears-indian-daughters
April 2013 § Leave a comment
In this presentation, I will place Mick Imlah’s early work in an historical context by performing a close reading of his Browning-esque dramatic monologue, ‘Quasimodo Says Goodnight’. Through the close reading of another poem, ‘Doing It’, I will reveal that – contrary to the conventional view of his work – Imlah often wrote about subjects that were quite close to home. I will also read some of those recent poems of my own that I feel have been particularly influenced by my close reading of Imlah’s work.
Robert Selby is studying for a Creative Writing PhD under the supervision of Andrew Motion. His PhD consists of a concise but detailed biography of the late poet Mick Imlah and a close reading of his work, as well as putting together a collection of his own poems. A recipient of a Keats House bursary, his poems have appeared in the TLS, the Guardian, The Dark Horse, and elsewhere. Four appeared in the recently published anthology, Days of Roses II.