Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived
The present study focuses on Michael Blakemore’s turn-of-the-millennium revival for Broadway and the London stage of the 1948 musical comedy Kiss Me, Kate by Cole Porter (music and lyrics) and Bella and Samuel Spewack (book). The metatheatrical structure of Blakemore’s revival of this famous adap...
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| Format: | Article |
| Language: | English |
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Casa Cărții de Știință
2015-06-01
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| Series: | Cultural Intertexts |
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| Online Access: | https://b00e8ea91c.clvaw-cdnwnd.com/4fb470e8cbb34a32a0dc1701f8d7322d/200000251-0bdb60bdb8/06-31%20Colipca-Ciobanu%20-%20Shakespeare,%20the%20Musical%20and%20Political%20Humour%20in%20Kiss%20Me,%20Kate%20Revived.pdf |
| _version_ | 1811226238783586304 |
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| author | Gabriela Iuliana COLIPCĂ-CIOBANU |
| author_facet | Gabriela Iuliana COLIPCĂ-CIOBANU |
| author_sort | Gabriela Iuliana COLIPCĂ-CIOBANU |
| collection | DOAJ |
| description | The present study focuses on Michael Blakemore’s turn-of-the-millennium revival for
Broadway and the London stage of the 1948 musical comedy Kiss Me, Kate by Cole Porter
(music and lyrics) and Bella and Samuel Spewack (book). The metatheatrical structure of
Blakemore’s revival of this famous adaptation of Shakespeare’s Taming of the Shrew
impresses, among other things, by the multiplication of intertextual links as it projects Porter
and the Spewacks’ as well as Shakespeare’s ‘battles of the sexes’ against the realistically
‘painted’ background of a world populated by actors, gangsters and, as an element of novelty,
politically-involved US army representatives. Thus, Blakemore’s directorial perspective on the
text(s) in performance turns out to be thought-provoking, drawing the present-day audience’s
attention to a wider range of gender, culture and power-related forms of conflict, and making
excellent use of subversive humour, the mechanisms of which this study will explore, to subtly
comment on history-shaping political ‘games’. |
| first_indexed | 2024-04-12T09:21:39Z |
| format | Article |
| id | doaj.art-8062351be34c41d894682aa2dcd1aa9d |
| institution | Directory Open Access Journal |
| issn | 2393-0624 2393-1078 |
| language | English |
| last_indexed | 2024-04-12T09:21:39Z |
| publishDate | 2015-06-01 |
| publisher | Casa Cărții de Știință |
| record_format | Article |
| series | Cultural Intertexts |
| spelling | doaj.art-8062351be34c41d894682aa2dcd1aa9d2022-12-22T03:38:37ZengCasa Cărții de ȘtiințăCultural Intertexts2393-06242393-10782015-06-013631Shakespeare, the Musical and Political Humour in Kiss Me, Kate RevivedGabriela Iuliana COLIPCĂ-CIOBANU0“Dunarea de Jos” University of Galati, RomaniaThe present study focuses on Michael Blakemore’s turn-of-the-millennium revival for Broadway and the London stage of the 1948 musical comedy Kiss Me, Kate by Cole Porter (music and lyrics) and Bella and Samuel Spewack (book). The metatheatrical structure of Blakemore’s revival of this famous adaptation of Shakespeare’s Taming of the Shrew impresses, among other things, by the multiplication of intertextual links as it projects Porter and the Spewacks’ as well as Shakespeare’s ‘battles of the sexes’ against the realistically ‘painted’ background of a world populated by actors, gangsters and, as an element of novelty, politically-involved US army representatives. Thus, Blakemore’s directorial perspective on the text(s) in performance turns out to be thought-provoking, drawing the present-day audience’s attention to a wider range of gender, culture and power-related forms of conflict, and making excellent use of subversive humour, the mechanisms of which this study will explore, to subtly comment on history-shaping political ‘games’.https://b00e8ea91c.clvaw-cdnwnd.com/4fb470e8cbb34a32a0dc1701f8d7322d/200000251-0bdb60bdb8/06-31%20Colipca-Ciobanu%20-%20Shakespeare,%20the%20Musical%20and%20Political%20Humour%20in%20Kiss%20Me,%20Kate%20Revived.pdfadaptationintertextualityhumourgenderpoliticsperformance |
| spellingShingle | Gabriela Iuliana COLIPCĂ-CIOBANU Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived Cultural Intertexts adaptation intertextuality humour gender politics performance |
| title | Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived |
| title_full | Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived |
| title_fullStr | Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived |
| title_full_unstemmed | Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived |
| title_short | Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived |
| title_sort | shakespeare the musical and political humour in kiss me kate revived |
| topic | adaptation intertextuality humour gender politics performance |
| url | https://b00e8ea91c.clvaw-cdnwnd.com/4fb470e8cbb34a32a0dc1701f8d7322d/200000251-0bdb60bdb8/06-31%20Colipca-Ciobanu%20-%20Shakespeare,%20the%20Musical%20and%20Political%20Humour%20in%20Kiss%20Me,%20Kate%20Revived.pdf |
| work_keys_str_mv | AT gabrielaiulianacolipcaciobanu shakespearethemusicalandpoliticalhumourinkissmekaterevived |