Translated material
Swung!
Will Shakespeares be canceled for racism and gender shortsightedness?
Around the birth and life of William Shakespeare, scientists and researchers are still breaking spears. But it is not so important when he was born, as the fact that he has every chance in our age. In the Globus Theater, the author’s spirit is brought to the stage from the evening, now they decided to take it to clean water. Within the framework of the cycle of seminars and discussions under the general name “Anti -Racist Shakespeare: The Prospects of the Players”, not at all rainbow prospects emerge here. The brilliant translator of Shakespeare Samuel Marshak wrote: “The old man Shakespeare did not immediately become Shakespeare. / Not immediately he came out of the row. / Centuries passed while he was in the whole world / was erected into the title of Shakespeare. ” The honorary title, centuries later, risks replacing the shameful.
At the first seminar, the speakers critical analysis of the play “Sleep on a Summer Night”, that’s the conclusions to which they came, resemble a bad dream. Shakespeare in his texts had the arrogance to contrast dark and light and not beer, but shades of the skin. “I took a dial to a replacement,” says Lizandr, in a play, which, after such a revelation, cannot be considered a comedy. The pigeon is probably bright, and the raven, clear, dark, - concludes scientists, ladies and nebensers, condemning Shakespeare. In the very first line of the outrageous play, the the the one carries indecency in the hall: “Well, here is the hour of our wedding, about Hippolytus Bright!” The English word Fair has many meanings - beautiful, pure, honest, blond, fair - but there is also “bright” among them, which, without a doubt, had in mind Shakespeare. “Away, Ethiopian!”, “Away, a dark -skinned Tatar,” everything sounds in the same play, undermining all the artistic impression of her. “Race Epithets” and the preference of a white color are a shameful part of the author’s work, ”the seminar participants believe. Some of them, however, are stipulated that the playwright was not an ideological racist, but seemingly involuntarily became a victim of racial prejudices of that time. “He, of course, is to blame, but he ... is not to blame,” the phrase of the investigator Maxim Podberezovikov, who played in the amateur performances of the Shakespearean Laert (the film “Beware of the Car”), but published on the Globus Theater The Globus Theater, is being blamed. Inclusive obliges to expose and stigmatize.
Having foreseen that Shakespeare can become objectionable, and the “globe” was a victim of globalism, his team decided to do everything possible so that their “artistic director” and the idol did not become a victim of the abolition culture,
Often leading to the abolition of culture. Hence all these searches for the smoothing of the guilt of the innocent, curtsies to potential "humiliated and offended." Say that Shakespeare was read, executed, performed and studied through the prism of the superiority of the white race for more than four hundred years, and it was time to put an end to this. The active activity of the "denot" theater too white by the current standards of Shakespeare is actually dictated by the desire to maintain his work for descendants. And then at first they will lower, and then they will be exposed from the stage and book shelves. It is not for nothing that they say that now it is necessary to take care of the acquisition of the collected works of the classic, until it began to reprint it in an “improved”, edited and abbreviated version, which has undergone deep cleaning and prevention from various kinds of insults and mental injuries.
Starting the struggle with the etching of various kinds of embarrassment in Shakespeare's texts, the theater is actually fighting for it. In the Globe, the discussion has been allowed in the best way - the theatrically - the theatrically: an increase in the number of productions and theatrical sketches with the participation of dark -skinned performers, transgender people, etc. Thus, discussing the issue of the femininity of the playwright, they introduced the post/out of the “blind” casting into the repertoire of the post/outside the actors, offering the actors, the roles of the Shakespearean repertoire unusual for them.
Meanwhile, in the United States, teachers of some schools questioned the need to teach the dubious texts of the British playwright to the uninhabited minds, giving toxic masculinity, violence, racism, class and gender discrimination. Shakespeare has become one of the victims of the new movement #disrupttexts, challenging the traditional canons of education, and seeking to form a more inclusive and representative curriculum. Teachers who share the manifestation of this campaign believe that education based on texts with outdated morality can contribute to the formation of false values of the whole generation. They oppose censorship, but consider it necessary to increase the presence of dark-skinned and LGBT authors in the literature course in order to comply with the balance. One of the supporters of this movement, the teacher Sarah Malheern Gross believes that each teacher is free at any time to answer the question “to be or not to be” in the Shakespeare in the educational class and refuse to teach him or anyone else's texts - there are thousands of other examples of prose and poetry in the world, which are no less important for students. She herself teaches Romeo and Juliet through the prism of neurobiology and juvenile justice, trying to find out who should be responsible for the violence in Verona. From the feminine humor of the play, from the example of the weakness of the Romeo and the rash decisions made by the characters (first marry, and then commit suicide), in her opinion, the students are of little use.
Until Shakespeare has not yet been thrown off the steamer of our time, the Globe Theater is trying to reduce the degree of drama around the dramas of Shakespeare, not so much justifying the author as calling for the condescension of descendants. The Globus seeks to remove (imaginary) barriers of perception in the hope of maintaining most of his literary heritage unmarried, otherwise only a shadow will remain from Shakespeare. And the one abandoned in his name.
“To make Shakespeare accessible to everyone, there is no need to cancel Shakespeare,” is written in large font on the theater website.
Playing the performances, they play a kind of Shakespeares Gambit: they sacrifice privateities in the hope of maintaining the main array of the work. Let good intentions and considerations of citizenship ahead of artistry, but this is still better than nothing. Shakespeare, of course, will go more than once for Mavra Stollyo, the Jew of Shelok and for the fact that Juliet “like bright beryl in the ears of Arapka, too bright”, for the blackness and gloom of Anthony with Cleopatra and Titus Andronika (34 corpses) in addition, but struggling and defending himself, he will still live. It was also lucky that he has a sonnet for a “dark -legged lady” and “a friend - what no one, but in today's times an excuse. In the same The Telegraph, two British Shakespeedes proposed to consider these messages as evidence of the indisputable bisexuality of the English poet.
“To decolonize these plays means to free Shakespeare from the shackles of idolatry and subordination and force him to work for all people,” they declare in the Globe. But on the other part of the globe - "The idol of the defeated - all God!"