The Performativity of Female Subjectivities in Othello in Noh Style and Lady Macbeth
My paper focuses on performances of female subjectivity in two East Asian performances of Shakespeare: Othello in Noh Style by Ku Na’uka Theatre Company (directed by Miyagi Satoshi, 2005) and Lady Macbeth by Theatre Moollee (directed by Han Tae-Sook, 2010) re-write and perform Shakespeare’s Othello...
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| Gepubliceerd in: | URI:https://journals.openedition.org/shakespeare, |
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| Formaat: | Article ou chapitre numérique |
| Taal: | Anglais |
| Gepubliceerd in: |
Actes des congrès de la Société française Shakespeare
2024
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| Online toegang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Samenvatting: | My paper focuses on performances of female subjectivity in two East Asian performances of Shakespeare: Othello in Noh Style by Ku Na’uka Theatre Company (directed by Miyagi Satoshi, 2005) and Lady Macbeth by Theatre Moollee (directed by Han Tae-Sook, 2010) re-write and perform Shakespeare’s Othello and Macbeth in ways that facilitate re-evaluations of Shakespeare’s female characters once they are performed in non-Anglophone and non-naturalist contexts. These productions recontextualise Shakespeare’s plots as having taken place in the past, foregrounding the experiences and memories of Desdemona and Lady Macbeth respectively. In Othello in Noh Style, Desdemona returns in spectral form after events in Shakespeare’s Othello. Lady Macbeth enacts the interior psychological landscape of the titular female character through the performance of her memory, which takes place through her physical interactions with the Royal Doctor, three Servants, as well as in the distinctive use of objects. I conclude my paper by reflecting on the ways in which these performances propose conceptualisations of female subjectivity as taking place through the embodied recuperation of trauma in interaction with other elements of theatrical performance. |
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