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Chapter 10 - ‘I’ll Teach you Differences’

Learning across Languages and Cultures with Fórum Shakespeare (Brazil)

from Part III - Public Reimaginings

Published online by Cambridge University Press:  02 February 2023

Liam E. Semler
Affiliation:
University of Sydney
Claire Hansen
Affiliation:
Australian National University, Canberra
Jacqueline Manuel
Affiliation:
University of Sydney
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Summary

This chapter investigates questions of language, context, cross-cultural communication and collective learning through three examples from Fórum Shakespeare. For the past twenty years, the (almost) bi-annual project Fórum Shakespeare has brought young actors from Brazilian peripheries together with theatre makers and audiences to ask questions about multicultural, multilingual and potentially mutually beneficial ways of engaging with Shakespeare. The three case studies discussed in this chapter include: Paul Heritage’s work on Romeo and Juliet with a group of juvenile prisoners in Rio de Janeiro in 1999; Bridget Escolme’s workshops for young people in Rio de Janeiro, Salvador and Brasília in 2011, 2013 and 2014; and Catherine Silverstone’s lecture and workshop for general audiences in São Paulo in 2016. The Fórum – and each case study – insists on the plurality of Shakespeare. The chapter explores how professional and non-professional participants have disturbed the harmful assumptions and challenged the negative expectations that limit young people, while teaching pleasure, resilience and compassion through performance. In Fórum Shakespeare meaning has consistently been constructed through exchange, with participants’ embodied acts of translation introducing new understandings of how working inter-culturally with Shakespeare’s texts can allow different stories to be told.

Type
Chapter
Information
Reimagining Shakespeare Education
Teaching and Learning through Collaboration
, pp. 159 - 173
Publisher: Cambridge University Press
Print publication year: 2023

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References

Delgado, Maria M. and Heritage, Paul, 1996. In Contact with the Gods? Directors Talk Theatre (Manchester: Manchester University Press).Google Scholar
Escolme, Bridget, 2013. Emotional Excess on the Shakespearean Stage: Passion’s Slaves (London: Bloomsbury).Google Scholar
Kyd, Thomas, 2009. The Spanish Tragedy, edited by Gurr, Andrew (London: A&C Black).Google Scholar
Middlebrook, Libby, 2000. ‘Language Test for Shakespeare Play’, New Zealand Herald, 24 November, www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=161717.Google Scholar
Selwyn, Don C. (dir.), 2001. Te Tangata Whai Rawa o Weniti/The Maori Merchant of Venice (He Taonga Films).Google Scholar
Shakespeare, William, 1997. King Lear, third series, edited by Foakes, Reginald A. (London: Arden Shakespeare).Google Scholar
Shakespeare, William, 2012. Romeo and Juliet, third series, edited by Weis, René (London: Arden Shakespeare).Google Scholar
Silverstone, Catherine, 2011. ‘The Legacy of Colonisation: Don C. Selwyn’s The Maori Merchant of Venice and Aotearoa New Zealand’, in Shakespeare, Trauma and Contemporary Performance (New York: Routledge), 5578.Google Scholar
Workshop Evaluation, 2016. Fórum Shakespeare, People’s Palace Projects (trans.), April.Google Scholar

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