publication . Article . 2017

Re-membering the Bard : David Greig’s and Liz Lochhead’sRe-visionary Reminiscences of “The Tempest”

Maria Elena Capitani;
Open Access English
  • Published: 01 Dec 2017 Journal: Parole Rubate : Rivista Internazionale di Studi sulla Citazione (issn: 2039-0114, Copyright policy)
  • Publisher: Prof. Rinaldo Rinaldi
Abstract
The Tempest (1611) is one of those Shakespearean texts which have been adopted and adapted most frequently. This article explores two early Nineties appropriations of the Bard’s romance, that is David Greig’s unpublished monologue A Savage Reminiscence or (How to Snare the Nimble Marmoset), first performed in 1991, and Liz Lochhead’s The Magic Island, a rewriting of The Tempest for seven- to eleven-year-olds, first staged in 1993. Even if they differ from a variety of points of view, both Scottish Tempests retell the Shakespearean narrative through the lens of memory. In Greig’s appropriation, after being left alone on the island, a guilty Caliban recollects som...
Subjects
free text keywords: Shakespeare, theatre, rewriting, Language and Literature, P
Communities
Digital Humanities and Cultural Heritage

2 Ibidem.

3 See J. Sanders, Adaptation and Appropriation, Abingdon and New York, Routledge, 2006, p. 48: “Performance is an inherently adaptive art; each staging is a collaborative interpretation, one which often reworks a playscript to acknowledge contemporary concerns or issues”.

4 Ibidem, pp. 45-46.

5 D. Lanier, Shakespearean Rhizomatics: Adaptation, Ethics, Value, in Shakespeare and the Ethics of Appropriation, edited by A. Huang and E. Rivlin, Basingstoke and New York, Palgrave Macmillan, 2014, p. 32.

6 See J. Sanders, Adaptation and Appropriation, cit., p. 52.

7 V. M. Vaughan and A. T. Vaughan, Introduction, in W. Shakespeare, The Tempest, edited by V. M. Vaughan and A. T. Vaughan, London, Thomson Learning, 2006, p. 1. It is important to note that, through its exceptional variety of recontextualisations and renditions, The Tempest “has helped shape three contemporaneous movements - postcoloniality, postfeminism or postpatriarchy, and postmodernism - from the 1960s to the present” (C. Zabus, Tempests after Shakespeare, Basingstoke and New York, Palgrave, 2002, p. 1).

8 V. M. Vaughan and A. T. Vaughan, Introduction, cit., p. 1.

9 See ibidem, p. 41.

10 C. DiPietro, Performing Place in “The Tempest”, in Shakespeare and the Urgency of Now: Criticism and Theory in the 21st Century, edited by C. DiPietro and H. Grady, Basingstoke and New York, Palgrave Macmillan, 2013, p. 85.

30 This prestigious position was established by the Scottish Parliament in 2004. In that year Edwin Morgan became Scotland's first official national poet, succeeded by Liz Lochhead in 2011 and Jackie Kay in 2016. See A. Scullion, A Woman's Voice, in The Edinburgh Companion to Liz Lochhead, edited by A. Varty, Edinburgh, Edinburgh University Press, 2013, p. 116.

31 A. Varty, Liz Lochhead's Theatre for Children and Young People, ibidem, p.

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