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Shakespeare, Other Shakespeares and West Indian Popular Culture: A Reading of the Erotics of Errantry and Rebellion in Troilus and Cressida
Ist Teil von
Small axe : a journal of criticism, 2001-03, Vol.5 (1), p.44-69
Ort / Verlag
USA: Duke University Press
Erscheinungsjahr
2001
Link zum Volltext
Quelle
Literature Online (LION eBooks)
Beschreibungen/Notizen
[...]what they might not have understood in terms of literal meaning, they certainly understood in terms of theatre value - what might be referred to as carnival quotient, the plastic openness to remaking and fusion with other forms. Since the propagation of Shakespeare through the education system means that he continues to permeate all echelons of our (paradoxically) fluid class system, Shakespeare remains part of a general West Indian consciousness, even if only in vaguely allusive ways. The actors have at their disposal an expanded range of possibilities by which to play the characters. [...]the same plays that have been used in imperialist power projects have been used to resist hegemonies and celebrate difference. First there is an extended sequence rehearsing the "divinely sanctioned" rationale for preserving the hierarchical body politic. Despite sumptuary laws regulating dress according to one's class, players wore on stage the real clothing of the nobility, which they bought second-hand from the master of revels. [...]even costuming was a powerful sign of the possible dissolution of boundaries of control. 36 The allusion is to Carolyn Cooper's Noises in the Blood, chapter entitled "Slackness Hiding from Culture: Erotic Play in the Dancehall", 136-73.