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Cobbling up the Dramatic Hero in a Cynical Age Cobbling up the Dramatic Hero in a Cynical Age
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Shakespeare’s Spectral Presence Shakespeare’s Spectral Presence
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Conclusion Conclusion
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Select Bibliography Select Bibliography
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45 Shakespearean Tragedy in Eastern Europe
Get accessPavel Drábek is Professor of Drama and Theatre Practice at the University of Hull. He has published on Czech translations of Shakespeare (České pokusy o Shakespeara, 2012), early-modern drama (Fletcherian Dramatic Achievement: The Mature Plays of John Fletcher, 2010), theatre theory (Theatre Theory Reader, 2017; general editor David Drozd), and on theatre and performance historiography (The Routledge Companion to Theater and Performance Historiography, 2021; edited by Tracy C. Davis and Peter W. Marx). He co-edited (with M. A. Katritzky) Transnational Connections in Early Modern Theatre (2020), edited Pamela Howard’s What Is Scenography? (third edition, 2019) and The Art of Making Theatre (2022), and is working on a monograph on Adapting and Translating for the Stage. Between 2003 and 2015 he founded and led the Ensemble Opera Diversa (www.operadiversa.cz), a Czech professional music and opera company. He has written and translated for opera, theatre, and radio, often collaborating with composer Ondřej Kyas.
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Published:02 November 2016
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Abstract
Eastern Europe is a problematic geopolitical concept comprising anywhere from 7 to 20 countries—culturally, ethnically and historically different. What they share is a Communist past. This essay discusses the diverse historical heritage of Eastern Europe, and theorizes the semantics of the post-Communist tragic hero and the modern trends in Shakespearean tragedy using examples from Croatia, the Czech Republic, Poland, Romania, and Slovakia.
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