Shakespeare, the Musical and Political Humour in Kiss Me, Kate Revived

Cultural Intertexts

Gabriela Iuliana COLIPCĂ-CIOBANU¹ 

[1] "Dunărea de Jos" University of Galați, Romania;

关键词: adaptation;    intertextuality;    performance;    humour;    gender;    politics;   

DOI  :  

来源: DOAJ

【 摘 要 】

The present study focusesonMichaelBlakemore’sturn-of-the-millennium revival for BroadwayandtheLondonstageofthe 1948musical comedy KissMe,Kate by ColePorter (musicandlyrics)and Bella and Samuel Spewack(book). The metatheatrical structureof Blakemore’s revival of this famousadaptationofShakespeare’s Tamingof the Shrew impresses,amongotherthings,by themultiplicationofintertextuallinks asit projectsPorter and the Spewacks’ aswellas Shakespeare’s ‘battles ofthesexes’ againsttherealistically ‘painted’ background of a world populated by actors, gangsters and,asanelementofnovelty,politically-involvedUSarmyrepresentatives. Thus, Blakemore’s directorial perspective on the text(s)inperformanceturnsouttobethought-provoking, drawingthepresent-day audience’s attentiontoawiderrangeofgender,cultureandpower-relatedformsofconflict,andmaking excellent use of subversive humour, the mechanisms of which this study will explore, to subtly comment on history-shaping political ‘games’.

【 授权许可】

Unknown