A Momaria and a Baptism: A Note on Beginning and Ending in the Globe Merchant of Venice (2015)

Roberta Mullini

Abstract


The New Globe 2015 performance of The Merchant of Venice made a very dark comedy of a so called ‘romantic’ one. Not only is Shylock shown as a victim of Venetian anti-Semitism from the very beginning, but he also turns out as a pitiful – and deeply pitied – character because of the addition to the end of the play created by the director Jonathan Munby. The article, after summarising the role of the initial and final phases of dramatic texts, discusses the beginning and ending added by Munby, also through some reviewers’ responses to the production both in London and in the USA. It then  articulates its own standpoint claiming that the additions made by the director to the original text, while legitimate as artistic objects and directorial choices, diminish the play’s complexity and constitute sort of performative paratext to the play. (The research is based on the “Globe on Screen” DVD version of the play).

Keywords


Shakespeare; The Merchant of Venice; beginning; ending; New Globe; Jonathan Munby

Full Text:

PDF

References


Anglican Church of Canada (2016), http://cep.anglican.ca/tag/prayer-for-the-conversion-of-the-jews/ (last accessed 2 October 2017).

Author (1982),.

Beckett, Samuel (1985?), Waiting for Godot. Directed by Walter D. Asmus, https://www.youtube.com/watch?v=FqpjddXaw4E.

Billington, Michael (2015, 1 May). “The Merchant of Venice review – Jonathan Pryce is a Shylock of Weight and Complexity”, https://www.theguardian.com/stage/2015/may/01/the-merchant-of-venice-review-jonathan-pryce-shylock-shakespeares-globe.*

Bommer, Lawrence (2016, 7 August), “The Globe’s Stunning Production Highlights Shakespeare’s Plea for Dignity as much as Mercy”, http://www.stageandcinema.com/2016/08/07/merchant-venice-globe/.

Book of the Common Prayer and Administration of the Sacraments . . . (The) (1549), Londini: in officina Richardi Graftoni. Mense Martij.

Brokes, Emma (2016, 22 July), “The Merchant of Venice review – A Barometer for the Anxieties of the Times”, https://www.theguardian.com/stage/2016/jul/22/the-merchant-of-venice-review-lincoln-center-new-york#comments.*

Brooks, Lucy (2015?), “Merchant of Venice, The Globe”. https://www.culturewhisper.com/r/article/preview/4522.*

Cavendish, Dominic (2015, 1 May), “The Merchant of Venice, Shakespeare’s Globe, Review: ‘Oak-solid’”. http://www.telegraph.co.uk/culture/theatre/theatre-reviews/11576773/The-Merchant-of-Venice-Shakespeares-Globe-review-oak-solid.html.*

Collins, Stephen (2015, 1 May). “The Merchant Of Venice, Shakespeare’s Globe”. http://britishtheatre.com/review-the-merchant-of-venice-shakespeares-globe-4stars/.*

Dodd, William (1982), “Parametri per l’analisi del dialogo nel testo drammatico”, in AA. VV., Interazione, dialogo, convenzioni. Il caso del testo drammatico, Bologna: CLUEB: 29-48.

Franco, Giacomo (1610), Habiti d'huomeni et donne venetiane con la processione della Ser.ma Signoria ed altri particolari . . ., Venezia: Giacomo Franco (a digitalized edition can be visualised at http://cdm.bostonathenaeum.org/cdm/ref/collection/p15482coll3/id/4278, last accessed 28 September 2017).

Gilmour, Alexander (2015, 4 May), “The Merchant of Venice, Shakespeare’s Globe, London — Review”. https://www.ft.com/content/96dd112a-efe8-11e4-ab73-00144feab7de.*

Globe on Screen (2016), William Shakespeare’s The Merchant of Venice. Opus Arte. Director Jonathan Munby.

Isherwood, Charles (2016, 23 July), “‘The Merchant of Venice’ with Extra Fog, Moral and Atmospheric”. https://www.nytimes.com/2016/07/23/theater/the-merchant-of-venice-jonathan-pryce-review.html.*

Kellaway, Kate (2015, 3 May), “The Merchant of Venice Review – A Double Star Turn”. https://www.theguardian.com/stage/2015/may/03/merchant-of-venice-review-double-star-turn.*

Luther, Martin (1962), “That Jesus Christ Was Born a Jew” (“Dass Jesus Christus ein geborener Jude sei”, 1523), trans. by Walter I. Brandt, in Luther's Works, ed by Jaroslav Pelikan and Helmut T. Lehmann, Philadelphia: Fortress Press, vol. 45: 195-229.

Luther, Martin (1971), On the Jews and Their Lies (Von den Jüden and iren Lügen, 1543), trans. by Walter I. Brandt, in Luther's Works, ed. by Jaroslav Pelikan and Helmut T. Lehmann, Philadelphia: Fortress Press: vol. 47: 121-306.

Luther, Martin (1948), The Jews and their Lies, Los Angeles: Christian Nationalist Crusade.

Michael, Robert (2006), Holy Hatred. Christianity, Antisemitism, and the Holocaust, Basingstoke: Palgrave-Macmillan.

Muraro, M. Teresa (1981), “La festa a Venezia e le sue manifestazioni rappresentative: le Compagnie della Calza e le momarie”, in Storia della cultura veneta, a cura di Girolamo Arnaldi e Manlio Pastore Stocchi, Vicenza: Neri Pozza: vol. 3/III, 315-41.

Nicolotti, Andrea (2012), “Perfidia iudaica. Le tormentate vicende di un’orazione liturgica prima e dopo Erik Peterson”, in Erik Peterson. La presenza teologica di un outsider, a cura di Giancarlo Carosello, Città del Vaticano: Libreria Editrice Vaticana: 477-514.

Sacks, Harvey (1995), Lectures on Conversation, vols I & II, ed. by Gail Jefferson woth an Ontroduction by Emanuel A. Schlegoff, Oxford: Blackwell.

Serpieri, Alessandro (1987), “Prefazione”, in William Shakespeare, Il mercante di Venezia. Introduzione di Nemi d’Agostino. Prefazione, traduzione e note di Alessandro Serpieri, Milano: Garzanti.

Shakespeare, William. (1985), The Merchant of Venice, ed. by John Russell Brown, London: Methuen (The Arden Shakespeare, second series).

Sheridan, Richard Brinsley (1781), The Critic or A Tragedy Rehearsed, The Seventh Edition, London: for T. Becket.

Stasio, Marylin (2016, 24 July), “New York Theatre Review: ‘The Merchant of Venice’ Starring Jonathan Pryce”, http://variety.com/2016/legit/reviews/the-merchant-of-venice-review-jonathan-pryce-1201820911/.*

Visual Story: The Merchant of Venice (2016), http://www.shakespearesglobe.com/theatre/whats-on/globe-theatre/the-merchant-of-venice-2016 (last accessed 25 September 2017).

Westfall, Susan (1990), Patrons and Performance, Oxford: Oxford University Press.

Wickham, Glynne (1974), The Medieval Theatre, London: Weidenfeld and Nicolson.

Williams, Holly (2015, 1 May), “Jonathan Pryce’s Beleaguered Shylock Impresses in an Otherwise Middling Production”, http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/merchant-of-venice-globe-theatre-review-jonathan-pryce-s-beleaguered-shylock-impresses-in-an-10217931.html.*

Zorzi, Ludovico (1990), “‘Spettacoli popolari veneziani del tardo Cinquecento (dagli Habiti di Giacomo Franco)”, in L’attore, la commedia, il drammaturgo, Torino: Einaudi: 172-82.




DOI: http://dx.doi.org/10.13136/sjtds.v4i1.135

Refbacks

  • There are currently no refbacks.