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자료유형
학술저널
저자정보
한영림 (경북대학교)
저널정보
한국셰익스피어학회 Shakespeare Review Shakespeare Review Vol.52 No.3
발행연도
2016.9
수록면
471 - 490 (20page)

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William Hazlitt was a journalist-reviewer of Shakespeare performance, and his criticism was mainly composed of value judgements about Edmund Kean’s manner of acting that was always likely to result in satisfaction. But, on the other hand, he was disappointed with Kean’s deficiency in playing Coriolanus. Hazlitt’s reading of Coriolanus was based on his sympathy with Napoleon who was the historical embodiment of a self-righteous of power. The Hazlitt-Napoleon association lends credence to the assumption that his interpretation of the character of Coriolanus was resonant with his portrayal of Napoleon. At the same time, however, Coriolanus’s pragmatic failures in human relations could be seen as a demonstration of the kind of poetical justice on the importance of humanity and the cause of liberty. Hazlitt contended that Coriolanus affirmed the ordinary human need for affection and recognition, and that these ordinary facts were given some prominence in the scenes where Coriolanus’s heroism are combined with familial ties and cares. Humanism laid at the core of Hazlitt’s critical appreciations. The humaneness and naturalness of the scenes between Coriolanus and his mother was commended.
Hazlitt’s reading of Coriolanus could be seen as the prefiguration of David Thacker’s production for the Royal Shakespeare Company in the 1994 season, and Josie Rourke’s production for the Donmar Warehouse in the 2013 season. Both productions offer a reappraisal of Hazlitt’s characterization of Coriolanus, and an emotionally and politically engaged mode of staging. Furthermore, Gregory Doran’s emphasis on the RSC Live programme in his opening speech at the 2016 World Shakespeare Congress is in line with Hazlitt’s concepts of the sympathetic imagination, and the necessity of theatrical records of Shakespeare performance.

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UCI(KEPA) : I410-ECN-0101-2017-840-001345523