October 6, 2020

Shakespeare Our Contemporary: a catchy title. The first time I heard it was in an undergraduate Shakespeare class at the University of Massachusetts, taught by. Notable works, Shakespeare, Our Contemporary. Notable awards, Herder Prize ( ). Jan Kott (October 27, – December 23, ) was a Polish political activist, critic and. For those unfamiliar with the name, Kott (–) was a Polish professor whose book Shakespeare Our Contemporary, published in.

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In SeptemberKott fought in the Polish army in its futile campaign against the German invasion and then, after a period in Lvov, returned to Nazi-occupied Warsaw.

Project MUSE – Jan Kott, Shakespeare Our Contemporary

Read in March From Wikipedia, the free encyclopedia. Retrieved December 20, He renounced his membership of the communist party in Shakespeare remains our contemporary in extraordinarily vivid ways. References to this book Historicism Paul Hamilton No preview available – D oes anyone still read Jan Kott?

The New York Times. This page was last edited on 4 Decemberat A poet, translator, and literary critic, he became one of the more prolific essayists of the Polish school in America.

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Don’t we now accept as a matter of course Kott’s arguments that A Midsummer Night’s Dream is packed with animal eroticism, that Shakespeare’s histories are about grand mechanistic shakespearre, and that Hamlet is a deeply political play about surveillance, fear and corruption that ends with a foreign military invasion? The links are powered by Skimlinks.

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K is for Jan Kott

Shakespeare Our Contemporary by Jan Kott. He died in Santa Monica, California after a heart attack in Only after the Stalin era contemporzry to an end, did he become its ardent critic March First published in Polish in the ‘s it brought a Jabduring the darkest period of Soviet terror, Kott published an ideological manifesto about the role of theater, entitled “O teatr godny naszej epoki” For theater worthy of our timesin which he demanded a “new” theater subservient to the Party and its ideology.

But it’s interesting how these points still, subconsciously or not, affect productions.

This book is a provocative, original study of the major plays of Shakespeare; more than that, however, it is one of the few critical works to have strongly influenced theatrical productions. All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. This website uses cookies to ensure you get the best experience on our website.

Retrieved 21 March Jan Kott October 27, — December 23, was a Polish political activist, critic and theoretician of the theatre. He praised Joseph Stalin, but mostly concentrated on theater. Michael Kustow’s obituary for the Guardian This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase.

And Goold’s Merchant of Venicewhich the RSC has criminally allowed to disappear from the repertoire after it closed last year, took us into a Las Vegas-style world of casinos and gameshows that I suspect Kott would have appreciated.


Michael Boyd’s RSC “Shakespeare history” cycle in demonstrated impersonal forces at work in its progress from late medieval England to the modern world.

shakespaere Jan Kott, Shakespeare Our Contemporary. Reading it again today, I am stunned by how much of it has been absorbed into our theatrical culture.

Built on the Johns Hopkins University Campus. Readers all over the world–Shakespeare Our Contemporary has been translated into nineteen languages since it appeared in have similarly found their responses to Shakespeare broadened and enriched.

His celebrated Macbeth, with Patrick Stewart in the leadwas not only stuffed with filmic references but possessed the edge-of-the-seat-quality we associate with a vintage horror movie.

In his influential volume Shakespeare, Our Contemporaryhe interpreted the plays in the light of philosophical and existential experiences of the 20th century, augmented with his own life’s story.

Historicism Paul Hamilton No preview available – Even in Filter’s madcap version of The Dream, currently at London’s Lyric HammersmithTheseus’s reference to conquering Hippolyta with his “sword” acquires a Kottian phallic association.

Without cookies your experience may not be seamless. Kott shrewdly analyses the contradictions in the character of Coriolanus and the play. I suspect Kott goes a bit far when he argues that it is the cinema, not the theatre, that best conveys the “fluency, homogeneity and rapidity of action” of Shakespeare’s plays.