Programa

Conteúdo programático:

1. Introdução: Shakespeare no palco do pós-guerra
2. Rosencrantz e Guildenstern morreram (1966), de Tom Stoppard: Shakespeare absurdista?
3. Lear (1971), de Edward Bond, e o uso estratégico do cânone
4. Bingo (1973), de Edward Bond, e o papel social do artista
5. Shylock (1976), de Arnold Wesker: Shakespeare passado a limpo?
6. Finalização do curso: O legado shakespeareano

Referências (outras referências serão acrescentadas ao longo do curso):

BOND, Edward. Lear. In: ______________. Plays: 2 Lear, The Sea, Narrow Road to the Deep North, Black Mass, Passion. London: Bloomsbury, 1998.
__________________. In: ______________. Plays: 3 Bingo, The Fool, The Woman, Stone. London: Bloomsbury, 1999.
ELSOM, John (ed.) Is Shakespeare still our contemporary? London: Routledge, 1989.
HELIODORA, Barbara. Caminhos do teatro ocidental. São Paulo: Perspectiva, 2015.
INNES, Christopher. Modern British Drama 1890-1990. Cambridge: Cambridge University Press, 1992.
KOTT, Jan. Shakespeare nosso contemporâneo. São Paulo: Cosac & Naify, 2003.
MAGUIRE, Laurie. Studying Shakespeare: A Guide to the Plays. Oxford: Blackwell, 2004.
MARWICK, Arthur. Culture in Britain since 1945. Oxford: Blackwell, 1994.
PASTA, José Antonio. Trabalho de Brecht. São Paulo: Editora 34, 2010.
PATTERSON, Michael. Strategies of Political Theatre: Post-War British Playwrights. Cambridge: Cambridge University Press, 2006.
REBELLATO, Dan. 1956 And All That: the making of the modern British drama. London: Routledge, 1999.
SCOTT, Michael. Shakespeare and the Modern Dramatist. London: Palgrave Macmillan, 1989.
SINFIELD, Alan. Literature, Politics and Culture in Postwar Britain. London: Bloomsbury Academic, 2004.
SHAKESPEARE, William. Hamlet (trad. Lawrence Flores Pereira). São Paulo: Penguin-Companhia, 2015.
____________________. O Mercador de Veneza (trad. Beatriz Viégas-Faria). Porto Alegre: L&PM Pocket, 2007.
____________________. Rei Lear. (trad. Lawrence Flores Pereira). São Paulo: Penguin-Companhia, 2020.
STOPPARD, Tom. Rosencrantz and Guildenstern Are Dead. In: ________________. Rock ‘n’ roll e outras peças (trad. Caetano W. Galindo). São Paulo: Companhia das Letras, 2011.
SZONDI, Peter. Teoria do drama moderno (1880-1950). São Paulo: Cosac & Naify, 2001.
WESKER, Arnold. Shylock. In: ___________. Wesker’s Historical Plays: Shylock, Blood Libel, Longitude, Caritas. London: Oberon Books, 2012.
ZARHY-LEVO, Yael. The Making of Theatrical Reputations Studies from the Modern London Theatre. Iowa: University of Iowa Press, 2008.