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115© The Editor(s) (if applicable) and The Author(s) 2016E. Sheen, I. Karremann (eds.), Shakespeare in Cold War Europe, Global Shakespeares, DOI 10.1057/978-1-137-51974-0

INDEX 1

1 Note: Page numbers followed by “n” refer to footnotes.

Algerian War , 65–7, 69, 70, 74 La battaglia di Algeri (Pontecorvo) ,

66 allusion, role , 28–30, 35, 78, 82–3,

90, 98 Anisimov, I. , 57 Annan, N.

career , 11, 16–17 educational principles , 7 Elizabethan Festival (1948),

role in and evaluation of , 15–18

and the German soul , 15–16 history as educational tool , 18–19 on Measure for Measure , 19–20 and Rylands , 15, 17, 20

Barthes, R. , 76 Berlin and the Elizabethan Festival

(1948) ‘battle for the German soul’ , 14–16 blockade, airlift and division ,

10–11 Britain’s status , 10

infl uence of Annan and Birley as counter to offi cial British position , 11–12

lay performers , 15–16 Measure for Measure , 14, 15, 19–20,

22 not ‘the Shakespeare Festival’ , 21 post-war Berlin

cultural life (Schauplatz Berlin) , 12–22

The Third Man , 12–13 Trümmerfi lm phenomenon , 12

Robertson, General Sir R. and , 11, 14

westernization and , 21–2 Berstein, S. , 71–2 binary/bipolarity paradigm

censorship/banning and , 6, 86 city/provincial theatres , 6 Cold War conceptions and , 5, 64–7 Planchon’s rejection of , 68–72 third space alternative , 67 ‘varying realities’ alternative , 3–6

116 INDEX

Birley, R. educational principles , 7, 11–12,

18–19, 21 on Measure for Measure , 19–20

Boecker, B. , 11, 17n5, 18, 21 Borowy, W. , 24–5 Boyadzhiev, G. , 58 Brecht, B. , 64, 67, 83 Brook, P. , 57, 96 Buffet, C. , 11, 14, 16–17 Carruthers, S.L , 3 censorship

binary/bipolarity paradigm , 6, 86 Hungary , 86–9 Poland , 28, 29, 31, 33 Spain , 77–8, 81–4 USSR , 53, 61

Chwalewik, W. , 32–3 Ciechowski, J , 25–6 Clark, K. , 54, 62n62 Clemen, W. , 43 Cold War, conceptions of

bipolar vs multipolar visions , 64–7 colonial wars/decolonization, effect

on , 65–7, 74 Dr. Strangelove , 63–4 in France , 63–7 ‘long peace’ , 63–4 Realist interpretations , 2–3, 65–6 relocation to the margins ,

65, 69–70, 74 Cold War culture . See European Cold

War culture Copferman, E. , 67 Crozier, M. , 66 de Gaulle, Ch. , 66–8 Derrida J. , 1n1, 6–7 Dobson , M, 39 Döring, T. , 39 doublespeak/reading between the

lines (Hungary) , 89–93 double-voicing (USSR) , 54–7 Dr. Strangelove (Kubrick) , 63–4

education Annan and Birley’s approaches to ,

7, 10–12, 18–19, 21 Bildung, scholè, paideia (Derrida) , 7 education through Shakespeare ,

44–5, 64 German Shakespeare Society’s views

on , 44–5 higher education as ‘space’ , 7 or ‘re-education’ , 11–13, 18 in the post-WWII world , 7

Eurafrica , 66–7 European Cold War culture , 7–8

American culture as original focus , 2–3

post-revisionist approach , 3 ‘varying realities’ approach , 3–6

Ferguson, Y. , 3 Fernie, E. , 39 Fik, M. , 26, 34–5 Foucault, M. , 66, 73–4 Fraga, I.M. , 76–8, 80, 84 France

Avignon Festival , 64, 70–2 Cold War, conceptions of , 63–7 colonial wars/decolonization, effect

on , 65–7, 74 education through Shakespeare , 64 nuclear weapons (force de frappe) ,

66–8 Shakespeare notre contemporain

(Maréchal) , 72–3 space theories (see space theories ) Troilus and Cressida (Planchon)

(1967) , 65, 67–70, 71–2, 74 Frow, J , 39 Gaddes, J.L. , 3n6, 64n1 Gajdó, T. , 87 German Shakespeare Society (Bochum

vs Weimar) anniversary celebrations , 37–9

as articulation of collective identity and aspirations , 89

INDEX 117

Bochum’s claims to status as the seat of the society , 41

education through Shakespeare , 44–5 foundation (1864) , 38 ‘Germany is Hamlet’ , 37–8 language and translation, role , 41 as mirror of political situation , 41 as political barometer , 38–9 quatercentenary anniversary

publications compared , 40–6 common rejection of cultural

politics as political gesture , 44–6

defi nition of East-West relationship as common objective , 43–4

political polemics (Bochum) , 42–3 Western philology vs Eastern

politics , 43–6 reinventing Shakespeare to meet

contemporary needs , 38–9 USSR attack on , 5–6 reunion (1993) , 38n3 split (1963) , 38

disputes over fees and membership , 48–50

Hallstein Doctrine or splendid isolation , 48–50

Kuckhoff Report (1966) , 48–9 Schütz’s role , 46–8, 54–5 USSR attack on (Valakh) , 54–5

Gollancz, I. , 38 Gordon, Ph. H. , 68 Gorky, M. , 53 Got, J. , 32–3 Greene, G. , 12–13 Greenwood, S. , 65 Grossmann, A. , 12–13, 19 Grzegorczyki, P. , 32–3 Habicht, W. , 40, 41, 44n13 Hahnimäki, J.M. , 2n3, 8 Halle, L.J. , 9–10

Hammond, A. , 64, 65 Hašek, J. , 5 Helsztynski, S.

apolitical stance/relations with the authorities , 33–4

Poland’s homage to Shakespeare , 31–3 publications (1963-1965) , 30–1

heroes in Shakespeare , 28n13, 56–7, 64, 67–9, 90, 94–5

hero-worship , 61–2 Höfele, A. , 14n3 Hungary under the Kádár regime

(1976 productions) As You Like It (1974) (Zsámbéki) , 95 doublespeak/reading between the

lines, subversive effectiveness , 89–93

allusion, role , 90, 98 Hamlet

1976 (Debrecen) (Sándor) , 88, 91–3

1980 (Györ) (Bódy and Szikora) , 88

1981 (Szolnok) (Paál) , 88 Measure for Measure

1976 (Debrecen) (Sándor) , 88, 91–2

1976 (Kaposvár) (Babarczy) , 88 Merry Wives of Windsor, 1969

(Zsámbéki) , 95 regulatory regime as alternative to

binary censorship , 86 methods of control , 86–7 tripartite value scale (‘banned’,

‘tolerated’, ‘supported’) , 86 Richard II, 1976 (Major) , 89–91 signifi cance of 1976 , 85–6 stratifi cation of theatre world , 87

National Theatre of Budapest as fl agship/problem child , 87

provincial theatres, neglect and the benefi ts thereof , 87–8

118 INDEX

Hungary under the Kádár regime (1976 productions) (cont.)

Taming of the Shrew, 1976 (Valló) , 97 Timon of Athens, 1976 (Székely) ,

88, 94–5 translation, role , 93 Troilus and Cressida, 1973 (Ruszt) ,

88 Twelfth Night, 1976 , 86n2 Winter’s Tale, 1976 (Zsámbéki) , 95–6

Ilyichev, L.F. , 60–1, 62n13 Ingold, T. , 7 Jákfalvi , M., 89 Jansohn, Ch. , 40, 43, 47–8 Jürgensen, K. , 11–12, 18 Kéry, L. , 88–9 Khrushchev, N. , 52, 53, 59–60, 61–3 Koslowski, R. , 3 Kott, J. , 17–18, 28–31, 64, 90 LaFeber, W. , 65 Lammersdorf, R. , 22 Lane, C. , 59–60, 61–2 Lefebvre, H. , 59, 66–7 Lehnert, M. , 40–2, 44–8, 50n23 Lindenberger, T. , 3–4, 5 Malte, R. , 59, 60, 61, 62 Maréchal, M. , 72–4 Márkus, Z. , 89 Marshall Plan (1947) , 2n3 Masey, J. , 53 McAuley, G. , 59 Mehl, D. , 40n6 Milza, P. , 71–2 Mitterrand, F. , 66 Monleón, J. , 77, 80 Morgan, C.L. , 53 Morozov, M.M. , 26–7, 53n3 Myerhoff, B.G. , 60 Nadel, A. , 2–3 Nádudvari, A. , 93 Nagy, I.Cs. , 91, 92, 93 Nánay, I. , 93 Nimvitskaia, L. , 57

nuclear threat , 1–2, 6–7, 65, 66, 71–3, 76

de Gaulle and , 66–8 Oechelhäuser, W. , 41n7, 42–4 older traditions , 3, 5, 6, 22

inventing new traditions , 5–6, 41–2, 60–2

Payk, M.M. , 3–4, 5 periodization , 2 Pfi ster, M. , 37n1, 45 Planchon, R.

binary/bipolarity paradigm and , 68–72

Richard III , 70–2 Troilus and Cressida , 65, 67–70,

71–2, 74 zones of marginality/shifting spaces ,

65, 69–70, 72 Poland

censorship in , 28, 29, 31, 33 Communist monopolization of

power (1946-7) , 25–6 Communist regime (1945-89) as

Shakespeare’s golden age , 34 Hamlet , 24–5, 28–9, 34–5 Jews in , 32–5 King Lear , 28–9, 35 Poland’s homage to Shakespeare (1965)

censorship and , 32, 33 containment techniques , 31–2 political neutrality , 31 purpose , 31 subversive elements , 32–3

Poznan insurrection (1956) , 28 quatercentenary ‘celebrations’

Helsztyński publications , 30–3 ( see also Poland's homage to Shakespeare (1965) above )

as identifi cation of Polish values with those of the Western world , 33–4

Letter 34 , 33 no Festival , 30

INDEX 119

subversive effect , 33–4 Warsaw University Library/British

Council exhibitions , 30 Richard III , 29–30 Shakespeare Theatre Festival

(1947) , 24–6 Borowy’s role , 24–5 evaluation , 25, 26 as identifi cation of Polish values

with those of the Western world , 24

National Theatre Festival of Russian and Soviet Drama (1949) as counter , 26

objectives , 24 subversive effect , 24

Social Realism Decree (1949), Shakespeare under , 26–7

as critic of capitalism , 26–7 as humanist , 26–7 plays as escape valve , 27–8 as prophet of Marxism , 26–7 subversive ‘amelioration’ of the

text , 27 solidarity/Solidarność,

Shakespeare’s contribution , 34–5

state subsidization of the theatre , 27 the ‘thaw’ (1956-60) and after

‘Polish October’ changes , 28 ‘political allusions and

metaphors’ , 28–30, 35 post-‘thaw’ tightening of the

communist screw , 29–30 Richard III (1960) and the

Grand Mechanism of power , 29–30

State monopolization of culture (Gomułka) , 30

translation, role , 4, 24–5, 30–2 post-revisionist approach , 3 productions/critical reviews of

As You Like It Hungary (1974) (Zsámbéki) , 95 Poland (1947) (Shakespeare

Theatre Festival) , 24–5 Coriolanus, Poland (1956-60) , 28–9 Hamlet

Annan (1948) , 19–20 Berlin (1949) (reading to mark

ending of blockade) , 21 ‘Germany is Hamlet’ , 37–8 Hungary (1976) (Debrecen)

(Sándor) , 88, 91–3 Hungary (1980) (Györ) (Bódy

and Szikora) , 88 Hungary (1981) (Szolnok) (Paál) ,

88 Majchrowski (1993) , 35 Olivier (1948) (fi lm) , 19–20 Poland (1947) (Shakespeare

Theatre Festival) , 24–5 Poland (1956-60) , 28–9 Poland (1968) (Lublin) (Braun) ,

34–5 Poland (1981) (Kraków) (Wajda) ,

35 Rylands/Gielgud , 20 Spain (1963-5) , 79–80 USSR (1964) (Kozintsev’s fi lm) ,

53n3 Hamlet (1981) (Szolnok) (Paál) , 88 Henry IV, France (1967)

( Shakespeare notre contemporain [Maréchal]) , 72–3

Julius Caesar, Spain (1956 and (1963-5) , 79–80

King Lear France (1967) ( Shakespeare notre

contemporain [Maréchal]) , 72–3

Poland (1956-60) , 28–9 Poland (Majchrowski

[1993]) , 35

120 INDEX

productions/critical reviews of (cont.) Measure for Measure

Annan (1948) , 19–20 Berlin (1948) , 14, 15, 19–20, 22 Birley (1947) , 19–20 Hungary (1976) (Debrecen)

(Sándor) , 88, 91–2 Hungary (1976) (Kaposvár)

(Babarczy) , 88 Poland (1956) (Kraków) , 28–9

Merchant of Venice, Spain (1963-5) , 79–80

Merry Wives of Windsor Hungary (1969) (Zsámbéki) , 95 Poland (1947) (Shakespeare

Theatre Festival) , 24–5 Midsummer Night’s Dream

Poland (1947) (Shakespeare Theatre Festival) , 24–5

Spain (1945 and 1963-5) , 79–81

Much Ado About Nothing Poland (Shakespeare Theatre

Festival [1947]) , 24–5 Spain (1963- 5) , 79–80

Othello Poland (Shakespeare Theatre

Festival (1947)) , 24–5 Spain (1963-5) , 79–80

Richard II, Hungary (1976) (Major) , 89–91

Richard III France (1966) (Planchon) ,

70–2 France (1967) ( Shakespeare notre

contemporain [Maréchal]) , 72–3

Poland (1960) (Warsaw) (Woszczerowicz) , 29–30

Romeo and Juliet, Poland (1947) (Shakespeare Theatre Festival) , 24–5

Taming of the Shrew Hungary (1976) (Valló) , 97 Poland (1947) (Shakespeare

Theatre Festival) , 24–5 Spain (1963- 5) , 79–80

The Tempest Poland (1947) (Shakespeare

Theatre Festival) , 24–5 Poland (1956-60) , 28–9

Timon of Athens Annan (1948) , 19–20 Hungary (1976) (Székely) , 88, 94–5 Koltai (1995) , 88, 94–5

Troilus and Cressida Annan (1948) , 19–20 Annan (1995) , 15, 17 Birley (1947) , 18–19 France (1964) (Planchon) ,

65, 67–70, 71–2, 74 Grossman (2007) , 10–20 Hungary (1973) (Ruszt) , 88 Hungary (1977) (Babarczy) , 88 Poland (1956-60) , 28

Twelfth Night Hungary (1976) , 86n2 Spain (1964) (Felipe adaptation:

No es cordero … que es cordera ) , 79–80, 81–2

Winter’s Tale, Hungary (1976) (Zsámbéki) , 95–6

Reynolds, D. , 65 Robertson, General Sir R. , 11, 14 Ryan, K., 1n1 , 5 Samarin, R., 53n3 , 56–8 Sartre, J.-P. , 20, 70 Schlauch, M. , 33 Schmitt, S. , 40n6, 41n7, 55n6 Schütz, W. , 46–9, 54–5 Schwarte, L. , 59 Shakespeare’s roles

as critic of capitalism , 26–7 as Good Soldier , 5

INDEX 121

as hero , 61–2 as humanist , 26–7 as prophet of Marxism , 26–7, 42–3 as realist , 56 as saint , 61–2 as subversive , 24, 27, 32–5 as teacher for life , 56–7

social realism . See Poland, Social Realism Decree (1949), Shakespeare under

Soja, E.W. , 67, 74 space theories

as active concept , 59 Cold War Europe as ‘space’ , 64 detente alternatives , 66–7 heterotopias (Foucault) , 73–4 higher education as ‘space’ , 7 Maréchal and , 73–4 Planchon and , 65, 69–70, 72 ‘politics of space’ , 59 public space , 62 sacral space of a portrait , 52 shaking up of received attitudes/

provocation of contestation and , 64, 66–7, 73–4

the stage/stage theatre and , 51–2, 59

theatre festivals as space of aspiration , 64

third space , 6, 66–7 festivals as , 73–4

USSR , 51–2, 59, 62 zones of marginality , 65, 69–70,

72–4 Spain’s apertura

aspirations to international acceptance , 75–8

economic considerations as driving force , 76–7, 84

Birkelbach Report (1962) , 77, 84 censorship under , 77–8, 81–4

allusion, role , 78, 82–3

classical drama dispensation , 78, 84

a sign of the times , 80–1 Cervantes as Spain’s own icon , 79 ‘every perversion’ vs ‘spiritual

reserve of the West’ , 76–7 Lope de Vega’s 400th anniversary , 79 performances of

Hamlet , 79–80 Julius Ceasar , 79–80 Merchant of Venice , 79–80 Midsummer Night’s Dream ,

79–81 Much Ado About Nothing , 79–80 Othello , 79–80 Taming of the Shrew , 79–80 Twelfth Night (Felipe adaptation:

No es cordero … que es cordera ) , 79–80, 81–2

quatercentenary celebrations , 79–84 translation, role , 81 universality of Shakespeare and , 79

Spencer, R. , 10 state subsidization of the theatre , 27 Tarnawski, W. , 32 translation, role

Germany , 41 Hungary , 93 Poland , 4, 24–5, 30–2 Spain , 81 USSR , 53, 57, 58

Turgenev, I. , 57–8 universality of Shakespeare

context-dependence , 5, 34–5 inadequate acknowledgment of

(Spain) , 79 reinventing Shakespeare to meet

contemporary needs , 38–9 singularity alternative , 7–8 timeless universality vs ‘absolute

contemporaneity’ , 1–2, 7–8, 33–5

122 INDEX

USSR quatercentenary celebrations Bolshoi, role of , 51–3, 59, 62 censorship and , 53, 61 culture as instrument of power and

dominance/strategies , 53–8 double-voicing , 54–7 events marking , 53 Hamlet (Kozintsev’s fi lm) , 53n3 ideological uncertainties of the 60s ,

60–1 opening ceremony , 51–2 praise followed by attack , 54–7 as ritual celebration , 51–2, 59–62

ritual as legitimization of political structure , 61

ritual as unifying force/’vehicles of integration’ , 59–62

Shakespeare’s embeddedness/‘best understood in’ , 57–8

Shakespeare’s reputation Gorky’s support (1934) , 53

as political barometer , 52–3 the ‘thaw’ (1953-64) , 53

solidarity, Shakespeare’s contribution , 61

space theories , 59, 62 Stakhanovite excess , 54, 58 translation, role , 53, 57, 58

Valakh, I.A. , 54–5 Vietnam War , 3n6, 9–10, 50, 67–8,

70–4 von Ledebur, R. Freifrau von , 38n3,

40, 47n16 Vowinckel, A. , 3–4, 5 Wegierko, A. , 32–3 Westad, O.A. , 2n3, 8 westernization

Germany , 21–2 Poland , 33–4

Whitfi eld, S. , 2–3 Wihstutz, B. , 59 Younger, K. , 10